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1
Studniarz, Sławomir. "Spuścizna literacka Edgara Allana Poego w dwudziestym pierwszym wieku a nowe paradygmaty badawcze." Papers in Literature, `10 (July 30, 2022): 153–69. http://dx.doi.org/10.31648/pl.7861.
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The aim of the article is to re-examine the literary legacy of Edgar Allan Poe from the perspective of the third decade of the 21st century. The starting point is a brief discussion of its complicated reception in the USA and Great Britain as well as its strikingly vivid presence in the contemporary culture. However, the main argument centres on how some of the fiction written by Poe reveals a striking convergence with the present-day environmental concerns engendered by an imminent man-wrought ecological catastrophe, and with the insights offered by zoocriticism. First, I analyse the selected stories by Poe from the perspective of ecocriticism. I wish to argue that at least some portion of his fiction could be included in “American environmentalist discourse”. I undertake to demonstrate that The Conversation of Eiros and Charmion and The Colloquy of Monos and Una carry a clear ecological message, The Domain of Arnheim features the artistic elevation of the natural world, while The Island of the Fay reveals the prefigurings of the modern Gaia Hypothesis. I also take a look at the stories Metzengerstein, The Black Cat, and The Murders in the Rue Morgue within the framework offered by zoocriticism, which studies the dynamics of the relation between Homo sapiens and other species. In this context I briefly refer to The Raven as well. The presented considerations may help understand why Poe’s fiction appeals to us so much now, in the age of Anthropocene, and at the same time try to counterbalance the image of Poe enshrined in the popular imagination – as the author of dark, terrifying, escapist stories, who has little to say about the world we live in.
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Alobaidi, Shaimaa. "The World of Mystery and Crime: Agatha Christie Techniques." European Journal of Theoretical and Applied Sciences 2, no. 3 (May 1, 2024): 208–14. http://dx.doi.org/10.59324/ejtas.2024.2(3).17.
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And Then There Were None and A Murder is Announced are two prominent works written by the “Queen of Crime” Agatha Christie. While both novels belong to the genre of the murder mystery and detective fiction, the writer employs different literary techniques to build suspense and keep the readers’ engagement until the final scene. Moreover, Agatha Christie also pays great attention to the details of the crime. Providing the audience with certain clues, the writer succeeds to manipulate the reader’s thoughts. Thereby, And Then There Were None and A Murder is Announced are remarkable examples of the murder mystery that is achieved by different literary means making the stories topical literary works.
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Coulson, John, and Nigel Odin. "Continental Great Spotted Woodpeckers in mainland Britain ‐ fact or fiction?" Ringing & Migration 23, no. 4 (January 2007): 217–22. http://dx.doi.org/10.1080/03078698.2007.9674367.
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Sandberg, Eric. "Detective Fiction, Nostalgia and Rian Johnson's Knives Out: Making the Golden Age Great Again." Crime Fiction Studies 1, no. 2 (September 2020): 237–53. http://dx.doi.org/10.3366/cfs.2020.0023.
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The Golden Age is back with a vengeance: reprints, re-boots, and adaptations of interwar detective fiction and its off-shoots have proliferated in the twenty-first century, as have works more loosely, but nonetheless substantially, inspired by the clue-puzzle format developed and perfected by authors like Agatha Christie. This resurgence of the ‘whodunnit’ mystery is something of mystery itself, as the centre of gravity of crime writing has long shifted away from this ostensibly dated and aesthetically limited form. This paper explores this unexpected development, looking in particular at the role of nostalgia in relation to new Golden Age mysteries. While nostalgia is frequently, and quite justly, viewed in negative terms as a personally and politically regressive phenomenon, in some cases, as in Rian Johnson’s murder mystery Knives Out (2019), examined here, it can be used not simply as a dubious marketing or aesthetic strategy, but as part of a broader social critique in which one form of nostalgia is used to critique another.
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Vice, Sue. "Howard Jacobson’s J: A Novel and the Counterfactual Imagination." European Judaism 55, no. 2 (September 1, 2022): 81–94. http://dx.doi.org/10.3167/ej.2022.550207.
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This article analyses Howard Jacobson’s 2014 novel J, which depicts the aftermath of an imagined genocide of the Jews in Britain, and explores its connections to other examples of British-set counterfactual Holocaust fiction. The representation of mass murder on British soil in Jacobson’s novel is achieved despite its omission of such crucial words as ‘Jew’, making the task of identifying these events and their victims into one shared by the novel’s protagonists and the reader. This article identifies the varied targets of J’s satire, which include that of increasing British insularity and its basis in assumptions of moral superiority in relation to the commission of wartime atrocities in Europe. Yet the novel also critiques in more general terms those aspects of contemporary life’s dependence on conformity-inducing technologies, to suggest that the figure of the Jew, and responses to the Jewish presence, offer a more vital alternative.
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Adogame, Afe. "Engaging the Rhetoric of Spiritual Warfare: The Public Face of Aladura in Diaspora." Journal of Religion in Africa 34, no. 4 (2004): 493–522. http://dx.doi.org/10.1163/1570066042564392.
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AbstractOne of the most striking examples of African indigenous religious creativity is the Aladura, a group of churches that emerged in Western Nigeria from the 1920s and 1930s. They are so called because of their penchant for prayer, healing, prophecy, exorcism, trances, visions and dreams. The Aladura made inroads into the European religious landscape in the late 1960s and have continued to grow in numbers. This paper examines their historical development, belief patterns and their appropriation of rituals in diaspora. Aladura's public image, particularly in the European media, has been somewhat controversial. Drawing insights from Great Britain, Italy and Germany, especially relating to the recent 'Thames Torso' ritual murder in Great Britain, the transnational sexual labour trafficking in Italy and Germany and their alleged connections with some Aladura churches, the paper shows how media sensationalizing of such allegations further serves to heighten public apprehension of Aladura. An insufficient grasp of Aladura religious worldview and their strong emphasis on ritual re-enactments may often continue to attract public misrepresentation and diabolization.
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MacMillan, Ken, and Melissa Glass. "Murder and Mutilation in Early-Stuart England: A Case Study in Crime Reporting." Journal of the Canadian Historical Association 27, no. 2 (July 20, 2017): 63–91. http://dx.doi.org/10.7202/1040562ar.
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Although historians have long recognized that crime pamphlet authors were not very faithful reporters, it has been difficult for them to establish precisely how much fiction this literature contained because of the limited availability of other sources with which to compare them. Using a case study approach, this essay examines two murder pamphlets, both written in 1606, that describe the murder of a young boy, Anthony James, the mutilation of his sister, Elizabeth, and the conviction and execution of their alleged assailants, Agnes and George Dell. The presence of two pamphlets describing the same series of crimes was unusual, and, through a process of detailed comparison and critical interpretation, provides us with an opportunity to reflect further on the accuracy and purpose of crime reporting in early modern England. The two versions contain a great deal of contradictory information, were seemingly written for very different audiences, served a variety of functions for contemporary readers, and raise the question of whether the authors believed that justice was done in this case.
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Zsámba, Renáta. "Houses as Lieux de Mémoire in Margery Allingham’s Crime Fiction." Crime Fiction Studies 2, no. 2 (September 2021): 218–33. http://dx.doi.org/10.3366/cfs.2021.0048.
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This article discusses the house as a site of memory in the novels of Margery Allingham, where it embodies a tension between the past and the present that turns the domestic milieu into a place of horror. Stemming from Susan Rowland’s claim that Golden Age authors did not write ‘unproblematically conservative country house mysteries’ (43), this paper uses Svetlana Boym’s theory of restorative and reflective nostalgia and Pierre Nora’s concept of lieux de mémoire (sites of memory) to read Allingham’s novels, which critically observe the sustainment of a vision of the past after the Great War. In her work, country houses like the eponymous one in The Crime at Black Dudley (1929), are, despite their aristocratic grandeur, perfect scenes for murder. While the countryside is associated with a nostalgic innocence, it is also contaminated by the intrusion of the present, as in Sweet Danger (1933). Family secrets are also reasons for crime, as we see in Police at the Funeral (1931). Hide My Eyes (1958) relocates the nostalgic atmosphere to a suburban house converted into a museum of ‘curios’, which operates as an ironic allegory of a nation wrapped up in its own history.
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Bastan, Ajda. "The Hagia Sophia and the Other Turkish Locations in Agatha Christie’s “Murder On the Orient Express”." International Journal of Social, Political and Economic Research 8, no. 1 (April 3, 2021): 37–46. http://dx.doi.org/10.46291/ijospervol8iss1pp37-46.
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British author Agatha Christie, who is one of the best-selling novelists in world literature, is the pioneering figure of detective fiction. Christie, the queen of mystery, wrote about eighty novels during her life. A great number of the author’s books were also adapted into movies. Viewed as one of Agatha Christie's most noteworthy accomplishments, the novel Murder on the Orient Express was released in 1934. It is highly believed that Agatha Christie wrote this novel during her long stays in Istanbul. The story is about a Belgian detective investigating a crime that occurred on the train. In Murder on the Orient Express many places and locations related to Turkey are mentioned. These are the Sainte Sophie (Hagia Sophia), the Orient Express, the Taurus Express, Nissibin, the Cilician Gates, Istanbul, Konya, The Bosporus, the Galata Bridge, The Tokatlian Hotel, Smyrna, Taurus and Hayda-passar. The novel starts with the completion of Hercule Poirot's investigation in Syria at the Aleppo train station. Poirot goes to Istanbul via the Taurus Express, where he wants to take the Orient Express to London. In fact, Poirot wants to make a few days’ holiday in Istanbul and visit Hagia Sophia.
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Γκότση, Γεωργία. "Elizabeth Mayhew Edmonds: Greek prose fiction in English dress." Σύγκριση 25 (May 16, 2016): 23. http://dx.doi.org/10.12681/comparison.9064.
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Elizabeth Mayhew Edmonds (1823-1907) played a significant role in the mediation of Modern Greek literature and culture in late nineteenth-century Britain, with her translations forming a vital aspect of her activity as a cultural broker. Focusing on Edmond’s transmission of late nineteenth-century Greek prose fiction, the article discusses her translation practices in the contemporary contexts of the publishing domain and the marketplace as well as of her effort to acquire authority in the literary field. Albeit impressive for a woman who was an autodidact in Modern Greek, the narrow scope of Edmonds’ translations offered a limited image of the developments in Modern Greek fiction. Her correspondence with John Gennadius and Thomas Fisher Unwin sheds light on her sense of superiority regarding male Greek authors such as Drosines and Xenopoulos, whose texts she rendered into English. Against this background, the article seeks to explain her translating choices and examines how a self-conscious translator such as Edmonds tried to shape the reception of Greek fiction in Victorian England by portraying it in terms of an ethnographic study of cultural survivals. Finally, through a parallel reading of the original texts and her somewhat mundane renderings, the article seeks to illuminate her translating craft: although worthy for their contribution to the promotion of Modern Greek literature in Great Britain, Edmond’s translations suffered from her inability to recreate the density of the original texts.
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Kustowska, Joanna. "Russia-United Kingdom Relations after The Year 2018. Condition and Predictions." Reality of Politics 18, no. 4 (December 31, 2021): 101–15. http://dx.doi.org/10.15804/rop2021406.
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The relations between the United Kingdom and the Russian Federation have a long history. Over centuries those relations were changing. At the beginning the countries were hostile and militant towards each other. Then, they became allies in World War I and World War II. However, never in the modern history bilateral relations between Great Britain and Russia have been so obscure and distant. Some scientists and politicians even suggest that relations between the United Kingdom and Russia are frozen. This thesis can be supported by the analysis of recent events in the 21st century history: from an attempt to murder ex-Russian agent in 2018 to firing warning shots at the British Royal Navy destroyer in the Black See by Russians in 2021.
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Ritchie, J. M., and Nicole Brunnhuber. "The Faces of Janus: English-Language Fiction by German-Speaking Exiles in Great Britain, 1933-1945." Modern Language Review 102, no. 1 (January 1, 2007): 283. http://dx.doi.org/10.2307/20467257.
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Koposova, E. N. "The Correlation Between External and Internal Factors of the Libyan Crisis." MGIMO Review of International Relations, no. 5(44) (October 28, 2015): 173–80. http://dx.doi.org/10.24833/2071-8160-2015-5-44-173-180.
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Abstract: Nowadays, the region of Middle East and North Africa has become a "testing ground" where the competition between the great powers takes place . The importance of this region is determined by its geopolitical position, concentration of large natural resources, as well as the fact that it represents the greatest threat to the international security - the bases of terrorist organizations, the strengthening role of the group "Islamic State", drug trafficking and the proliferation of weapons of mass destruction (WMD). Socialist People's Libyan Arab Jamahiriya was one of the most developed and richest countries on the African continent: the crisis events of 2011, which resulted in the overthrow of the government, the murder of Muammar Gaddafi and the crisis in the country. From the viewpoint of the neoclassical realism the Libyan crisis is explored in the article. The causes of the crisis (both internal and external) as as well as the interests of the great powers - the United States of America, France and Britain are analyzed.
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Campbell Ross, Ian. "‘Damn these printers … By heaven, I'll cut Hoey's throat’: The History of Mr. Charles Fitzgerald and Miss Sarah Stapleton (1770), a Catholic Novel in Eighteenth-Century Ireland." Irish University Review 48, no. 2 (November 2018): 250–64. http://dx.doi.org/10.3366/iur.2018.0353.
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The History of Mr Charles Fitzgerald and Miss Sarah Stapleton (Dublin, 1770) is a satirical marriage-plot novel, published by the Roman Catholic bookseller James Hoey Junior. The essay argues that the anonymous author was himself a Roman Catholic, whose work mischievously interrogates the place of English-language prose fiction in Ireland during the third-quarter of the eighteenth century. By so doing, the fiction illuminates the issue, so far neglected by Irish book historians, of how the growing middle-class Roman Catholic readership might have read the increasingly popular ‘new species of writing’, as produced by novelists in Great Britain and Ireland. The essay concludes by reviewing the question of the authorship of The History and offering a new attribution to the Catholic physician and poet, Dr Dominick Kelly, of Ballyglass, Co. Roscommon.
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Gonzalez, Angelo. "Mysteriously Murderous Manors of Crime Fiction." Digital Literature Review 10, no. 1 (April 18, 2023): 75–84. http://dx.doi.org/10.33043/dlr.10.1.75-84.
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Crime fiction has many common tropes often associated with its setting, including large houses with wealthy families, isolated homes in vast expanses of forest, and technological deserts, in which everyday things like cell phones are all but useless. These characteristics assist with the plot, and oftentimes are key contributors to the facts of the case. The manor in the 2019 film Knives Out, directed by Rian Johnson, displays these tropes outrightly, as it is in a large expanse of woods, and the family living in the house is built upon a family legacy of vast amounts of wealth. In many cases of crime fiction, the old manors come from old generations of money. Many characters throughout the film believe victim Harlan Thrombey to be from old money, although it is revealed later that this may not be a genuine portrayal of his rise into wealth, altering the perception of how his manor and ultimately his legacy is viewed. Unlike other crime fiction settings, Knives Out utilizes technology in order to put together pieces of the crime, instead of eliminating its use, as is common in crime fiction settings. The setting of the film is as important a piece to a crime fiction narrative as any other plot devices, like characters or events. As Joel Goldman writes: “A setting with a heartbeat represents the difference between good and great crime fiction; and allows readers to develop a true attachment to protagonists and, yes, a deep-seated fear and loathing of the villain” (1). This essay seeks to examine the tropes utilized in the film, and how they worked in providing evidence towards the case of the murder of Harlan Thrombey. The film also plays with crime fiction tropes in terms of technology. The mansion has aspects that are both archaic, like the VHS tape security system, but also modern, in the use of social media throughout the film. This essay will also show how the film used inverse versions of crime fiction stereotypes to craft a crime narrative.
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Walsh, Bridget. "Murder and Morality in Victorian Britain: The Story of Madeleine Smith / The Novelty of Newspapers: Victorian Fiction after the Invention of the News." Journal of Victorian Culture 16, no. 1 (April 2011): 155–58. http://dx.doi.org/10.1080/13555502.2011.554705.
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Shatalov, Denys. "NON-NIPPED MEMORY. THE HOLOCAUST IN THE SOVIET WAR MEMOIRS." ПРОБЛЕМИ ІСТОРІЇ ГОЛОКОСТУ: Український вимір 10 (December 15, 2018): 127–88. http://dx.doi.org/10.33124/hsuf.2018.10.05.
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The article addresses the presentation of the mass murder of Jews during WWII in the Soviet printed production. An overall trend of ignoring the topic of the Holocaust in the Soviet media discourse is unquestioned. Yet, (non)presentation of the mass destruction of Jews in the Soviet literature, which is commonly emphasized by the researches, needs clarification. If we look at the Soviet literature on the Great Patriotic War (including fiction prose), we can trace a phenomenon described in this article through war memoirs. Alongside official ignoring of the Holocaust in the Soviet Union, the whole post-war period experienced mass publishing and re-publishing of memoir books which provided direct references to the murder of Jews by the Nazis during the war. Herewith, combatants’ memoirs would often touch very briefly on the murders of Jews, but give no explanations. Such reference style implies that the authors targeted the readers’ background awareness. Detailed descriptions of Jewish discrimination, segregation, getthoisation and murder are found in the memoirs of former prisoners of war and partisans. The account of Nazi persecution of the Jews is an integral part of the stories of everyday life in the occupied territory, which often represents the major piece of the narrative. Under certain ideology, the mention of the murders of Jews was intentionally instrumentalized by the Soviet memoir writers seeking to demonstrate a criminal nature of Nazi collaborators. As can be inferred from the Soviet war memoirs, we are not supposed to simplify a clear-cut attitude of ignoring and should conceptualize the phenomenon of «non-nipped memory» in semi-official narratives. Soviet narratives, particularly war memoirs, did not highlight Nazi persecution of the Jews as a separate phenomenon; although described in detail, it was seen only as a part of the «new order». In the Soviet setting, we do encounter ignoring of the Holocaust (as a separate phenomenon), but at the same time, although with certain limitations, the memory of the mass murder of the Soviet Jews was quite actively reflected in war memoirs.
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Brinson, Charmian. "The Faces of Janus: English-language Fiction by German-speaking Exiles in Great Britain, 1933-1945 (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 25, no. 2 (2007): 212–14. http://dx.doi.org/10.1353/sho.2007.0010.
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Janicki, Joel J. "Forgotten Books: On the Making of Jane Porter’s "Thaddeus of Warsaw"." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 309–28. http://dx.doi.org/10.36770/bp.485.
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This article attempts to identify and examine some of the factors and sources that led to the creation of a largely forgotten prose work of English fiction titled Thaddeus of Warsaw (1803) which became an immediate and extraordinary success. Jane Porter’s novel deals with a fictitious Polish patriot Thaddeus Sobieski, who is modelled on the Polish national hero Tadeusz Kosciuszko. The novel presents an excellent illustration of the cultural links between Great Britain and Poland towards the end of the 18th century and constitutes a cautionary tale for Porter’s English readers, one that creates a basis for moral reform and political engagement.
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Michel Mondenessi, Alfredo. ""Stands Scotland Where it did?": Re-locating and Dis-locating the Scottish Play on Scottish Film." Anuario de Letras Modernas 14 (July 31, 2009): 33–49. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.671.
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Shakespeare’s Macbeth is a problematic fiction of 11th century Scotland constructed from the viewpoint of an early modern English playwright, chiefly through his reading of a black legend that developed over 400 years of violent re-arrangement of national powers and cultural and political identities in Great Britain. Given the questionable but common expectations of “realism” that cinema often invites, films of the play purporting to be "faithful to the original" have attempted to locate — or more significantly and accurately, to re-locate — Shakespeare’s fiction in "authentic" settings. A version of the "Scottish play" making such a claim was filmed by director Jeremy Freeston in Scotland in 1996. Using contrasting perspectives, on the one hand this paper explores how, when viewed merely from a "theoretical/filmic" approach, Freeston’s Macbeth may very likely be found "foul", while on the other, if approached from a broader, "cultural", stand, it turns out rather "fair".
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Mehedinți, Mihaela. "Great Britain and the United States of America as alterity figures for Romanians in the modern epoch: Ethno-cultural images and social representations." Romanian Journal for Baltic and Nordic Studies 14, no. 1 (August 1, 2022): 99–123. http://dx.doi.org/10.2478/rjbns-2022-0006.
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Abstract The main characteristics of any given social group are defined through comparisons with members of other communities and result from a complex interplay. Identity and alterity are thus constructed simultaneously and interdependently in accordance with group representations emerging from various sources: direct contact through travelling, mere legends or more verifiable accounts, scientific or fictional works, press articles tackling diverse topics, school textbooks, almanacs, etc. The British and the Americans were not identified as the most noteworthy alterity figures by the Romanian mentality of the modern period, but they were surely perceived distinctively from other foreigners. Despite the cultural and/or geographical distance between Transylvania, Wallachia and Moldavia, on the one hand, and Great Britain and the United States of America, on the other hand, towards the end of the 19th century average Romanians were able to interwove information gathered from a wide range of sources and to transform it into realistic depictions of these two countries and their inhabitants. This process of defining the Other combined diachronic and synchronous tendencies, fiction and facts, stereotypes and truth. By synthesising the work done by previous researchers, the present study provides an overall image of the ways in which Great Britain and the United States of America were perceived by Romanians throughout the 18th and 19th centuries.
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Ritchie, J. M. "The Faces of Janus: English-Language Fiction by German-Speaking Exiles in Great Britain, 1933-1945 by Nicole Brunnhuber." Modern Language Review 102, no. 1 (2007): 283–84. http://dx.doi.org/10.1353/mlr.2007.0378.
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Miller, Elizabeth Carolyn. "TROUBLE WITH SHE-DICKS: PRIVATE EYES AND PUBLIC WOMEN INTHE ADVENTURES OF LOVEDAY BROOKE, LADY DETECTIVE." Victorian Literature and Culture 33, no. 1 (March 2005): 47–65. http://dx.doi.org/10.1017/s1060150305000720.
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C. L. (CATHERINE LOUISA)PIRKIS'S“The Murder at Troyte's Hill,” second in her series of stories about Detective Loveday Brooke, begins with Brooke's boss debriefing her on a case: “Griffiths, of the Newcastle Constabulary, has the case in hand…. Those Newcastle men are keen-witted, shrewd fellows, and very jealous of outside interference. They only sent to me under protest, as it were, because they wanted your sharp wits at work inside the house” (528). This is a typical beginning for one of Brooke's adventures, which were published in the London magazineLudgate Monthlyin 1893 and 1894. As one of the earliest professional female detectives in English literary history, Brooke's career was marked by conflicts with territorial male officers and the ever-present pressure to keep her detective work “inside the house.” Emerging at a historical moment when understandings of women, criminality, and law enforcement were rapidly changing in Britain, Pirkis's stories offer an interpretation of these intersecting cultural shifts that is surprisingly different from her contemporaries. In a decade rife with scientific interrogation into the nature of criminality, such as in the work of Havelock Ellis and Francis Galton, detective fiction of the 1890s tended to mimic scientific discourse in its representations of criminals. The Brooke stories, however, challenge such conceptions of deviance and reveal the poverty of their underlying understandings of crime as well as gender.
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Brunnhuber, Nicole. "Explaining the Enemy: Images of German Culture in English-Language Fiction by German-Speaking Exiles in Great Britain, 1933-45." Seminar: A Journal of Germanic Studies 42, no. 3 (2006): 277–87. http://dx.doi.org/10.1353/smr.2006.0028.
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Brunnhuber, Nicole. "Explaining the Enemy: Images of German Culture in English-Language Fiction by German-Speaking Exiles in Great Britain, 1933–45." Seminar: A Journal of Germanic Studies 42, no. 3 (September 1, 2006): 277–87. http://dx.doi.org/10.3138/smr.2006.0028.
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Malzahn, Manfred. "Imagined Histories: The Novels of Walter Scott." International Journal of Arabic-English Studies 12, no. 1 (January 1, 2011): 91–100. http://dx.doi.org/10.33806/ijaes2000.12.1.6.
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This article examines the historical fiction of Sir Walter Scott, in its dual function not only as a reflection of history, but likewise as an active influence on the shaping of 19th century historical consciousness. This dual role is analysed with particular regard to the special position of Scotland in Great Britain and in the wider world before, during, and after Scott’s lifetime. The main focus of analysis is on the dialectic of attraction and revulsion that permits readers to indulge in the author’s imaginative recreation of a colourful and adventurous past, while at the same time retaining or reinforcing a belief in the superiority of the present. Walter Scott is thus defended against accusations of mere literary escapism or of promoting sentimental nostalgia for an idealised lost world of romance, and rather portrayed as a literary advocate for the overcoming of divisions within Scotland and within Britain, through a healing process based on an ultimate recognition of the pastness of the past, and of the inevitability of progress. Finally, a parallel is drawn between divergent uses and perceptions of the historical imagination in western literature and in the Arab world..
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Jajszczok, Justyna. "The Last Day and Brexit: Delusions of Future Past." Porównania 30, no. 3 (December 27, 2021): 167–77. http://dx.doi.org/10.14746/por.2021.3.11.
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The paper aims to show how the traditions of science fiction and, above all, invasion literature provide the ideological background for reading Andrew Hunter Murray’s The Last Day as a novel about Brexit. As it draws on anxious visions of the future, in which the enemy lurks around every corner, and the only salvation is complete isolation from the world, Murray’s work is read here as a Brexit dream come true, in which Britain is once again great, independent and uncontaminated by foreign elements. By evoking the myths that focus only on glory and conveniently “forget” the dark sides of the empire, the novel demonstrates that the fantasies of the past are as distant as the fantasies of the future; the loss of the world that never was is reworked in The Last Day into the loss of ecologically viable planet.
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Hicks, Philip. "Catharine Macaulay's Civil War: Gender, History, and Republicanism in Georgian Britain." Journal of British Studies 41, no. 2 (April 2002): 170–98. http://dx.doi.org/10.1086/386259.
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The eighteenth century marked a watershed in the relationship between women and historical writing in Britain. Previous to this period, D. R. Woolf has demonstrated, women had certainly purchased, read, and discussed works of history, contributing to “the ‘social circulation’ of historical knowledge.” A few, perhaps most notably Lucy Hutchinson, had composed Civil War memoirs. Some women had written genealogical, antiquarian, and biographical works, as well as local and family history, a “feminine past,” according to Woolf, that men often judged unworthy of real history. Only in the eighteenth century, however, did women and men significantly modify a neoclassical paradigm that conceived of history as a strictly male enterprise, the record of political and military deeds written by men and for men. In this century prescriptive literature increasingly urged history upon women as reading matter intellectually and morally superior to novels and romances. The great triumvirate of British historians, David Hume, Edward Gibbon, and William Robertson, wrote expressly for female readers. Their “philosophical” history, with its shift of emphasis from political to social and cultural subjects, appealed to women, as did their experiments with the narrative techniques of sentimental fiction. The century also witnessed the appearance of the first female historian in Britain to write in the grand manner, Catharine Macaulay (1731–91). Mrs. Macaulay's success in the traditional genre of history won her the respect of male peers as well as the applause of a wide readership.
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Kaye, Richard A. "THE WILDE MOMENT." Victorian Literature and Culture 30, no. 1 (March 2002): 347–52. http://dx.doi.org/10.1017/s1060150302301177.
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IS THERE A VICTORIAN WRITER who has won as much attention in the last few years, critical or popular, as Oscar Wilde? One or two decades ago, Hardy, Dickens, and the Brontës were the Victorians that large numbers of people wanted to read, discuss, and see on film and stage. It seems like another era that saw Nicholas Nickelby ruling on the Great White Way. The decline of Dickens’s mass appeal was probably signaled some time ago with an episode of the TV series Law and Order in which a murder case resulted from a business feud over a disastrous Broadway production of Bleak House. The Brontës have fared no better; the musical Jane Eyre, after some of the worst reviews ever to have greeted a musical, recently closed on Broadway, its producers in its last weeks having resorted to advertising on milk cartons. Although Hardy reportedly continues to top the sales of nineteenth-century British classics, Michael Winterbottom’s 2001 film adaptation of The Mayor of Casterbridge, set during the California Gold Rush, played to mixed reviews and nearly empty theaters, its gloomy fealty to the spirit of Hardy’s fiction, not unlike Winterbottom’s brooding version of Jude the Obscure, an evident obstacle for most audiences.
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Pearce, Sharyn. "The evolution of the Queensland kid: Changing literary representations of Queensland children in children's and adolescent fiction." Queensland Review 3, no. 2 (July 1996): 59–75. http://dx.doi.org/10.1017/s1321816600006449.
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Since the education explosion in mid-nineteenth century England, when astute publishers began to capitalise upon a newly created and burgeoning market, Australia has always featured prominently in fiction aimed at children and adolescents. Those British children who initially made up the bulk of the reading audience for books set in Australia were eager to read episodic stories set in exciting countries far from home, and an Australian setting offered a glamorous backdrop for tales of high adventure. Moreover, it appears that while the nineteenth-century British reading public perceived Australia as an exotic place, then Queensland was quintessentially so. A disproportionate number of early tales about life in Australia is set in this colony, most often in the outback regions, but also in the vicinity of the coastal tropics. Nineteenth-century Queensland was viewed by the British, as well as by many Australians, as a remote outpost of Great Britain; it was commonly thought of as the least urbanised, the least “civilised”, the least industrialised and perhaps the most remote of all the regions of Australia. It was widely seen as an area of great and diverse (if also mysterious and desolate) natural beauty, of rural innocence as yet unpolluted by dark, satanic mills (even Brisbane was a sleepy, sprawling country town in picturesque contrast to the bustling southern cities of Sydney and Melbourne). Children's novelists capitalised on the mystique of Queensland, archetypal frontier colony, by creating a cluster of tales showing what it was like to be a Queensland kid.
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Ben-Ami, Naama. "Arab Representations of the Occident." American Journal of Islam and Society 25, no. 2 (April 1, 2008): 128–30. http://dx.doi.org/10.35632/ajis.v25i2.1481.
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In his Orientalism (Vintage Books: 1978), literature teacher and culturalcritic Edward Said claimed that the entire corpus of academic, literary, andartistic knowledge about the Orient in general and theMuslim world in particularthat the West had accumulated and shaped was built up solely toserve its desire to conquer, control, and subjugate the Orient. His thesis waswidely discussed and influenced the study of the Middle East and the attitudesof numerous scholars.According to Said, theWest depicts the Orientas stagnant, static, exotic, submissive, and retarded, in contrast to the supposedlyenlightened and superior West. Some thirty years after the furor caused by this book, Rasheed El-Enany’s Arab Representations of the Occident: East-West Encounters inArabic Fiction challenges Said’s theory, at least with respect toArabic literature.El-Enany claims that Said only presented the western perspective andignored the Oriental resistance to it. In response, he presents the East-Westencounter through his own eyes, those of anArab intellectual who was bornand raised in Cairo and moved to Great Britain in 1977 during his twenties ...
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Pomiès-Maréchal, Sylvie. "The Enduring Influence of Female Special Operations Executive Agent Biopics on Cultural Memory and Representations in France and Great Britain." European Journal of Life Writing 10 (September 8, 2021): WLS144—WLS168. http://dx.doi.org/10.21827/ejlw.10.37917.
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Seventy-five years have elapsed since the end of World War Two. Yet, the memory of the conflict still occupies a central place in British and French collective consciousness. Fiction and film representations of the war act as powerful ‘vectors of memory’, to borrow an expression from French historian Henry Rousso, and as such, they have deeply contributed to shaping popular and cultural memories of the war.
This article investigates a specific aspect of World War Two representations, namely the cinematic representations of the female agents from the SOE F section, focusing on the ‘generic’ or archetypal figure of the female SOE agent as generated by the post-war cultural industry. After a brief contextualisation focusing on Churchill’s clandestine organisation, the article will analyse the contribution of Odette (Herbert Wilcox, 1950) and Carve Her Name with Pride (Lewis Gilbert, 1958) to the construction of a World War Two ‘mythology’. It will then address more recent films, concentrating on Charlotte Gray (Gillian Armstrong, 2001) and Female Agents (Jean-Paul Salomé, 2008).
How did the fictional construction of the female spy come to influence the social and cultural perception of the SOE agent? Are the tropes developed in such post-war films as Odette or Carve Her Name with Pride still current or have they evolved with time? The analysis of these fictional representations will reveal the permanence or evolution of certain representational patterns and also allow us to approach different perspectives on the cultural representation of World War Two on both sides of the Channel.
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Băniceru, Ana-Cristina. "Gothic Discourse in Jeffrey Eugenides’s 'The Virgin Suicides' – Challenging Suburban Uniformity and (Re)Imagining “The Other”." Linguaculture 9, no. 2 (December 10, 2018): 25–40. http://dx.doi.org/10.47743/lincu-2018-2-0121.
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This paper argues that Jeffrey Eugenides, in his début novel, The Virgin Suicides, first questions and then challenges ‘the homeliness’ of the American suburbia by adopting an unsettling gothic discourse and by creating gothic subjects (the Lisbons). Gothic discourse includes the gothic tropes of confinement, persecution, alienation and contagion. My approach to the American Gothic tends to side with Siân Silyn Roberts who convincingly argues that this literary phenomenon questions the place of the individual in what he calls “a diasporic setting” (7). In eighteenth century Great Britain, Gothic fiction differentiates a literate middle class from “the other”, meaning other nationalities, ethnicities and cultures. The individual becomes a container of “cultivated sensibility” (Roberts 3). In America, this model was seriously challenged due to “a climate of ontological uncertainty and rapid demographic change” (Roberts 5). The cosmopolitan city, a place of invasion, of close proximity to the other, has become the perfect setting for gothic subjects, characterised by Roberts as mutable and adaptable. However, suburbia, with its apparent idyllic life, tries to uniformize the heterogeneous tendencies of the cosmopolitan city.
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Adewole, Caroline. "Vying voices of the pandemic." Attachment: New Directions in Psychotherapy and Relational Psychoanalysis 15, no. 1 (June 30, 2021): 114–18. http://dx.doi.org/10.33212/att.v15n1.2021.114.
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This article documents and explores the painful impact of a gruesome racial attack during the first lockdown in the wake of the Covid-19 pandemic. It occurred less than a fortnight before the brutal murder of George Floyd in America. It is a reflection on the issue of racism and the marginalisation of less dominant groups in and outside the borders of Great Britain. It is the recognition and exploration in myself of an internalised colony of voices emerging as a response to the traumatic event. Tracking the intra-psychic and interpersonal dynamics involved in the racism and the subsequent attempt at an anti-racist answer leads to self-reflection on my part and the confrontation of my own bias. Eventually, I can feel my underlying vulnerability and the resulting shift. The sense of self-awareness and agency evolves into the mobilisation of an extensive mentalizing process. The article attempts to capture the subtle, insidious nature of othering and the fear behind the defences we use to keep this in place; the centrality of our capacity to courageously embrace our vulnerability as crucial to our ability to embrace and treat with dignity people who are different from us. The article touches on hopefulness that one day this socially constructed monster, racism, would be a thing of the past, not just on paper but in the human psyche also.
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Savchuk, I. "Cognitive Mechanisms in the British Stereotypical Perception of Western Europe Countries: Linguistic and Cultural Dimensions." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(87) (May 13, 2018): 133–37. http://dx.doi.org/10.35433/philology.1(87).2018.133-137.
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The article presents the cognitive instruments in the British perception of Western European countries. The problem set is rather topical since it reflects verbal, communicative and cognitive perspectives of intercultural communication. Fiction text fragments by modern authentic British writers serve as research material. Being a representative of the definite ethnocultural group the author verbalizes his personal as well as collectivist ideas about other nations. To single out the imaginings of the British about Europeans the following methods have been involved: cognitive interpretation, discourse and semantic analysis.
Culture defines the subjective reality thus reflecting an individual’s perception of native and foreign behavior. Determined by the cultural context of interaction, generalized perceptual experience is reflected in the ethnic stereotypes of the British cognitive space. Perception of the environment is filtered through the organized system of categories, values, importance of the information, expectations, interests, feelings, character traits etc. The mental process of categorizing the world explains the 'simplification' of reality organized in the minds of the representatives of Great Britain in the context of the stereotyped representation. Belgians are represented as brave in modern English fiction. Spain is associated by the British with rest and pleasure. France, Germany and Austria are viewed as respectful, luxurious, while Germans are considered to be trustworthy and the French – the most arrogant. Dominating positive attitude to Europeans is accounted by their close location. Categorical peculiarities of the perception of other peoples form cultural meaningful knowledge within the communicative competence of the interlocutors. The future perspective of the investigation is seen in learning autosterotyped perception in British worldimage.
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Voloshina, Tatiana G., Yulia S. Blazhevich, Natalia V. Nerubenko, and Anastasia S. Gerasina. "REFLECTION OF THE LINGUISTIC AND CULTURAL PICTURE OF THE WORLD IN TERMS OF FOLKLORE STUDIES (BASED ON THE PROVERBS AND SAYINGS OF GERMANY AND GREAT BRITAIN)." Sovremennye issledovaniya sotsialnykh problem 14, no. 3 (October 31, 2022): 159–71. http://dx.doi.org/10.12731/2077-1770-2022-14-3-159-171.
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This article deals with the peculiarities of proverbs and sayings on the example of German and British cultures, formed in the process of extralinguistic factors influence.
Purpose. The aim of the article is to identify the universals and uniqueness of German and British linguistic cultures illustrated with the proverbs and sayings functioning in modern German and English.
Methods. Methodologically, the article is of interdisciplinary character. The authors use methodological tools based on the application of general scientific methods (modeling, interpretation) and specific methods (linguistic reconstruction of culture, language and culture commentary).
Results. Having analyzed the features of proverbs and sayings of the German and English cultures, formed in the course of historical, cultural and linguistic interaction, the authors singled out the peculiarities of the worldview, character and beliefs of the Germans and Englishmen. The reasons for the productivity of proverbs and sayings use in modern German and English languages were identified: the most frequently used both for German and English language and cultures are bibleisms, set expressions, extracts from works of fiction.
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Dizdar, Srebren. "Od uzora do prezira / from admiration to contempt." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 25 (December 23, 2022): 415–72. http://dx.doi.org/10.46352/23036990.2022.415.
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D. H. Lawrence and his views on F. M. Dostoevsky used to change gradually – from the initial admiration and fascination with the works of this great Russian literary classic, which Lawrence had read in the period of the overall popularity ‘of all things Russian’ in Great Britain at the beginning of the 20th century, to doubts this highly controversial and largely misunderstood British author expressed in the most prolific period of Modernism, when he began publishing his own fiction as well as some non-fictional and critical pieces on literature. The majority of critics and researchers of Lawrence and his opus argue that his denial of Dostoevsky’s importance stemmed not only from his own need to distance himself from the influence of certain works by Dostoevsky but also from his continuous fight with his innermost demons in the later phase of his creative work. It was in these moments that Lawrence sought answers to his questions in the works of other Russian authors translated into English at the time – Solovyov, Berdyaev, Shestov and Rozanov. Lawrence paid special attention to their perspective on certain books by Dostoevsky. With similar enthusiasm, he also analysed the critical explanations of Dostoevsky by his British contemporaries, such as Ford Madox Ford, Arnold Bennett, John Middleton Murry, Joseph Conrad and Virginia Woolf. This paper focuses on Lawrence’s interpretation of The Grand Inquisitor, based on two key chapters from The Brothers Karamazov and written as a preface to the English translation by Samuel Koteliansky, ‘Kot,’ a Russian émigré Jew and Lawrence’s close friend. Although gravely ill, Lawrence managed to write this text in four days in February 1930. He died a month later at Vence, Southern France. It can be argued that in this last major critical piece of his, Lawrence concluded his decades-long re-reading and questioning of the influences that Dostoevsky and other Russian classics have exerted on him, as well as on the emergence and development of British Modernist fiction between 1910 and 1930.
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De Nutte, Niels. "In the Face of Death." Secular Studies 4, no. 1 (March 30, 2022): 71–92. http://dx.doi.org/10.1163/25892525-bja10030.
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Abstract Although Belgium has been a pioneer in dynamics related to the legalisation of euthanasia since the early 2000s, the historical work done on the subject is still very limited. Quite some work has, however, been done on the legal and ethical aspects and implications of euthanasia laws. Questions about societal dynamics in end-of-life issues’ acceptance and debate in the twentieth century in Belgium are to this day unanswered. It is clear, however, that before 1970, no advocacy groups on the matter existed. In this paper, we look at the scope, tone and volume of Belgian newspaper coverage in three events linked to euthanasia, which occurred prior to the emergence of advocacy groups on the subject. The three cases covered are the 1936 bill put forward by Lord Arthur Ponsonby on euthanasia in Great Britain, the 1949 trial of Dr. Herman Sander, the American physician who was charged with the murder of a patient suffering from cancer, and the 1950 release of the film “Meurtres” by Richard Pottier in which famed French actor Fernandel played a man mercy-killing his wife, based on the eponymous book written by Belgian novelist Charles Plisnier in 1943. With this paper, we shed light on the portrayal of euthanasia as a subject and the societal attitude that corresponds to it. The highly pillarised nature of 20th century Belgian newspapers makes this source material highly suited to this endeavour.
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Gephardt, Katarina. "Pandemic Consciousness and Narrative Perspective in Sheri Holman’s The Dress Lodger." Victoriographies 11, no. 2 (July 2021): 185–205. http://dx.doi.org/10.3366/vic.2021.0422.
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Sheri Holman’s neo-Victorian novel The Dress Lodger (1999 ) depicts the beginning of the 1831 cholera epidemic in Britain. The novel skilfully manipulates the conventions of nineteenth-century realism and neo-Victorian fiction to test the limits of readerly empathy and its foundations in the conception of the liberal subject as disembodied and disinterested. Although the novel seems ‘faux-Victorian’ and apparently encourages immersion in the story and identification with the central characters, metaphorical uses of language and shifting points of view disrupt such comfortable ways of reading, challenging the readers’ tendency to derive pleasure from representations of working-class suffering. Through complex characterisation of the protagonists, the factory and sex worker Gustine and the doctor Henry Chiver, the narrative exposes the violence of representation through parallels with medical discourse. This essay argues that Holman’s experimentation with narrative strategies ultimately suggests the need for a pandemic consciousness that transcends the clashing responses to the cholera epidemic and cultivates an awareness of global interdependence. The possibility of such pandemic consciousness is conveyed through ‘the Great Narration’ by the novel’s unconventional intradiegetic narrator, the working-class Dead, whose bodies were stolen by doctors for the purposes of dissection.
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Isakhanlı, Hamlet. "Tide-table of Liam Fox Liam Fox. Rising Tides: Facing the Challenges of a New Era. Heron Books, 2013." Khazar Journal of Humanities and Social Sciences 18, no. 3 (October 2015): 104–9. http://dx.doi.org/10.5782/2223-2621.2015.18.3.104.
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A book normally reflects the world of thoughts of its author. Drop by drop, the author’s life—joy and sadness, anger and love, concerns and wishes—soak into the book. In fiction, the identity of the author is in invisible form, not systemic, or clearly visible in one image; instead it may be distributed among several characters. Even though the author’s identity is allocated a small space in literature, it plays the role of salt to a meal: just a small amount of it melts into the food, but without it, the food is flavorless. In non-fiction, such as history or philosophy, the author analyzes facts and openly states his/her attitude towards them. These types of works, in contrast to literature, reveal the identity of the author throughout the book. If a work is based on serious research, the author tries to downplay his/her identity, to write with objectivity and maintain the principle of seeing everyone through the lens of equality. He/she avoids polarized views of “them” and “us,” as well as sympathy and antipathy; he/she writes with empathy (or rather, tries to do so; after all, authors are also human). However, there is one more type of work or possible author approach. In this case, the author writes to “our own” and tries to explain certain points to them, help them understand what awaits “us” in the future, and to draw lessons and conclusions from historical and current events. Rising Tides by Liam Fox can be placed in this last category. The author uses the word “us” in its narrow sense to mean Great Britain and in its broad sense to include Western democracy.
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Buzard, James. "“THE COUNTRY OF THE PLAGUE”: ANTICULTURE AND AUTOETHNOGRAPHY IN DICKENS'S 1850S." Victorian Literature and Culture 38, no. 2 (May 6, 2010): 413–19. http://dx.doi.org/10.1017/s1060150310000082.
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This short paper proposes toconsider the transition fromBleak House(1852–53) toLittle Dorrit(1856–57) as a phase of particular significance in Dickens's debate with himself over the claims, benefits, and pitfalls of national and wider forms of belonging. I elideHard Times(1854) because it seems to me that with the composition ofBleak HouseDickens had definitively arrived at the conviction that the twenty-number monthly novel was that one of his novelistic forms best suited to sustained exploration and testing of capacious social networks making claims upon individuals' identification and loyalty. InBleak House– as I have argued inDisorienting Fiction: The Autoethnographic Work of Nineteenth-Century British Novels(2005) – Dickens responds to the false universalism of the Great Exhibition of 1851 by producing his most restrictively “national” of novels, programmatically and demonstratively shutting out a wider world in order to produce an image of Britain that negatively foreshadows the kind of autarkic, autotelic fantasies of single cultures associated with the classic functionalist ethnography of the early twentieth century, as practiced by such luminaries as Bronislaw Malinowski and Franz Boas. “Negatively” is key here, since anticipations of ethnography in nineteenth-century British (autoethnographic) fiction typically involve representation of the nation as “a form ofanticulturewhose features define by opposition the ideals [later] attributed to genuine cultures” (Buzard,Disorienting21). Whereas the fast-disappearing genuine culture of ethnographic literature was credited with the integrated totality of “a sturdy plant growth, each remotest leaf and twig of which is organically fed by the sap at the core” (Sapir 90–93), Britain's culture vouchsafed inBleak Houseand exemplified in the tentacular Court of Chancery presents “a state of disastrous and inescapable interconnection,” “a culture-like vision of social totality that is simply marked with a minus sign” (Buzard,Disorienting21).
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Kerr, Donal A. "England, Ireland, and Rome, 1847-1848." Studies in Church History 25 (1989): 259–77. http://dx.doi.org/10.1017/s0424208400008731.
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In the spring of 1848 a number of respected English vicars-general, William Bernard Ullathorne of the Western District, John Briggs of the Northern District, and Thomas Brown of Wales decided that one of them, together with Fr Luigi Gentili, the Rosminian missioner, should proceed immediately to Rome. Their object would be to support, by personal intervention with Pius IX, a memorial drawn up by Briggs, signed by twenty Irish and three or four bishops in Great Britain, which was solemnly presented to the Pope by Thomas Grant, President of the English College in Rome. This memorial ran: we most... solemnly declare to Your Holiness that British Diplomacy has everywhere been exerted to the injury of our Holy Religion. We read in the public Papers that Lord Minto is friendly received... by Your Holiness At this very time, however,... the first Minister of the British Government, the Son in Law of Lord Minto is publicly manifesting in England, together with his fellow Ministers, his marked opposition to the Catholic Religion and the Catholic Church. Another cause of our serious alarm is the very general hostile and calumnious outcry now made in both houses of our Parliament and throughout Protestant England against the Catholic Priests of Ireland, falsely charging them with being the abettors of the horrible crime of murder whilst as true Pastors they are striving t o . . . console their... perishing people and like good shepherds are in the midst of pestilence giving their lives for their flocks.
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Buchholtz, Mirosława. "Biblioteka Henry’ego Jamesa: między katalogiem a kowadłem." Prace Filologiczne. Literaturoznawstwo, no. 9(12) cz.2 (July 4, 2019): 155–66. http://dx.doi.org/10.32798/pflit.127.
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This article looks back to the book The Library of Henry James published in 1987 by James’s most renowned and possessive biographer Leon Edel and the biographer’s friend, the independent scholar Adeline Tintner. While Edel outlines the history of James’s book collection in his house in Great Britain, Tintner offers examples of James’s use of the trope of library in his fiction. In between the two essays, the two authors included a catalog of James’s collection in Rye, indicating the location of all the items as of 1987. This article relies on the information provided in Edel and Tintner’s book, to which little has been added since, and offers a theoretical and historical approach to the topic of library in the context of Henry James’s biography and literary heritage. The article gives theoretical ramifications to the findings of Edel and Tintner by distinguishing between the three meanings of “library:” a physical space, a cataloged collection, and a literary trope. It also juxtaposes Edel’s biographical-historical essay and Tintner’s literary analysis with the autobiography of Henry James, in which the library emerges as a place partaking of several traditions: patriarchy, the process of initiation and maturation along with social and national self-fashioning.
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Asp Frederiksen, Lene. "Colonial media ecologies." Nordisk Tidsskrift for Informationsvidenskab og Kulturformidling 8, no. 2 (February 11, 2020): 98–112. http://dx.doi.org/10.7146/ntik.v7i2.118485.
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In this mixed-media essay I document a field trip to Ghana where I, so to say, travel in the footsteps of the Danish colonizers to the Gold Coast in a bid to dialogically challenge the genre of the monologizing colonial traveloguei. My methodological retracing of the slave route is inspired by Danish author Thorkild Hansen’s book trilogy Coast of Slaves, Ships of Slaves and Islands of Slaves from the 1960s in which he visits the former Danish West Indies and the Gold Coast (in the, at the time of his visit, still very young Ghanaian nation, which had gained its independence from Great Britain in 1957). Hansen was one of the first Danish authors to voice a strong critique of the Danish colonial past and of a neglectful historiography through his docu-fiction. I was curious to explore in a parallel movement to Hansen’s the landscape as prism and archive today. Hence, the ‘reenactment’ of the travelogue in this essay functions as an attempt to recast and refracture colonial narratives of past and present. My own documentary audio recordings from the field trip are presented here along with methodological reflections on how to voice dialogical narratives about colonialism in new digital media.
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Дроздовський, Дмитро Ігорович. "НАУКОВО-КОНЦЕПТУАЛЬНІ ЗАСАДИ СТВОРЕННЯ «THE ROUTLEDGE COMPANION TO TWENTY-FIRST CENTURY LITERARY FICTION»." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 1, no. 99 (2022): 40–57. http://dx.doi.org/10.34142/2312-1076.2022.1.99.03.
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In the paper, the author has examined the principles of design and structure of key content-thematic chapters (“Sexuality”, “Identity”, “Finance”, “War/Terrorism”, etc.) in one of the fundamental literary compendiums of the recent years – “The Routledge Companion to Twenty-First Century Literary Fiction”. This edition proposes a scientific systematization of key issues related to the discourse of English-language literature of the XXI Century. The authors of the chapters pay attention to the genre of the novel, which represents the key philosophical, genological, narrative modifications in the stream of the contemporary fiction of Great Britain, the United States and some other countries. “The Routledge Companion…” summarizes the logic of the development of the contemporary literary process in English-speaking countries, emphasizing the forms of distancing from the postmodern novel and defining those worldviews, narratives and otheraspects that give grounds to talk about the emergence of the novel, which reflects a new cultural and historical period, different from the postmodern configurations. It was found out that the editors of the compendium seek to capture the logic of the literary process, while combining historical and literary facts with the delineation of theoretical problems that are reflected in the literary process. Innovative aspects have been identified, the question of the anthropocene has been outlined, the genre of comics and graphic novels and the stream of the contemporary literature has been studied, the theory of realism(s), etc. has been outlined, the way the literary compendium inspires further development of the humanities has been studied. The principles of structuring theoretical problems, the relationship between history, literary theory and philosophy of literature as key factors determining the epistemological basis of the publication have been discussed. “The Routledge Companion…” summarizes key issues related to the humanities in general and cultural studies, phenomenology and anthropology, and, therefore, the compendium is based on a comparative approach (in the broadest sense) involved in writing a 21st century history of literature. The work was prepared within the framework of the Program and Competitive Themes of the National Academy of Sciences of Ukraine “Support of Priority Scientific Research and Scientific-Technical (Experimental) Developments of the Department of Literature, Language, and Arts of the National Academy of Sciences of Ukraine for 2022-2023”. Title: “Scientific and conceptual principles of contemporary literary encyclopedias: world experience”.
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Thomas, Deborah A. "THACKERAY, CAPITAL PUNISHMENT, AND THE DEMISE OF JOS SEDLEY." Victorian Literature and Culture 33, no. 1 (March 2005): 1–20. http://dx.doi.org/10.1017/s1060150305000707.
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VANITY FAIRIS A NOVEL OF ENIGMAS. In particular, after finishing the book, readers have often wondered why Thackeray refuses to tell us clearly whether or not Becky actually kills Joseph Sedley in chapter 67–a question recently given prominence by John Sutherland as one of the “Great Puzzles in Nineteenth-Century Literature” (66–72). The explanation most commonly given for Thackeray's evasiveness on this point is that such unanswered questions inVanity Fairare part of the artistry of this unconventional work of fiction, a book that A. E. Dyson has described as “surely one of the world's most devious novels” (76). This view ofVanity Fairas a novel of narrative legerdemain–intended to keep the reader constantly alert and pondering what is being shown (or concealed)–is certainly true. However, an additional possible explanation for Thackeray's ambiguity on the subject of Jos's death also ought to be considered. This explanation lies in Thackeray's horrified reaction to the public execution of François Benjamin Courvoisier on 6 July 1840. The echoes between Thackeray's appalled description of the events of that morning and his subsequent famous novel suggest that he privately conceived of Becky as murdering Jos. The echoes also suggest that one reason why Thackeray handled this fictional murder obliquely is that, by the time of writingVanity Fair, he had come to believe that, although executions might occur, they should not take place in public. Exploring the subtle connections between Thackeray's profound revulsion at the death of Courvoisier and Thackeray's later treatment of Jos's death gives deeper meaning to the intentional ambiguities in chapter 67. These connections make the ambiguities surrounding the death of Jos part of a widespread debate over capital punishment in the 1840s and have significant ramifications in terms of the parallel between public executions and pornography and with regard to the role of Becky in this novel.
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Ichim-Radu, Mihaela Nicoleta. "Vasile Alecsandri: Unique Aspects of the Biographical Itinerary vs. Recovery of the Writer's Memory." Intertext, no. 1/2 (57/58) (October 2021): 76–81. http://dx.doi.org/10.54481/intertext.2021.1.08.
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Among the writers of his generation, Alecsandri is the most comprehensive one, expressing not only the patriotic aspirations and desires, but also the discoveries from the universe of the private life and trying to make himself noticed in almost all the main literary genres and species. By different circumstances, Alecsandri gets to travel through Moldavia, Wallachia, Bucovina and Transylvania, to the European part of Turkey, to Italy, Austria, Germany, France, Spain, Great Britain, North of Africa, either for personal pleasure, to accompany Elena Negri, who was trying to find a more favourable climate for her fragile health, or for official business. All these travels and each of them separately are part of the development of his creation, leaving marks in his fiction and poetry and “it is printed on the screen of the human experience which defines his public and private personality”. In one of these travels, Alecsandri will discover the folk poetry, discovery which will profoundly mark his destiny as a writer and it will also have immeasurable consequences on the entire development of the Romanian literature from the last century, but also from the years to follow. As a result of the translations into French, German and English of the folk poems or of some of his original poems, Alecsandri becomes one of our first modern writers who became famous also abroad, being accessible to the foreign world.
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Kolykhalova, Olga A., and Anna Yu Kuldoshina. "Perceptions of Russian Literature in Britain in the end of the XIX — beginning of the XX century." NSU Vestnik. Series: Linguistics and Intercultural Communication 17, no. 4 (2019): 119–29. http://dx.doi.org/10.25205/1818-7935-2019-17-4-119-129.
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The purpose of the article is to analyze the existing ideas about Russian literature in Britain at the end of the 19th and the first half of the 20th centuries. A brief overview of the advancement of works by Russian classics among British readers is given. The spread of Russian literature in Britain had been progressing slowly for a long time due to the difficulty in translation and the lack of interest in Russia and Russian culture. However, at the end of the 19th and the first half of the 20th centuries, the situation changed in the British literary community. This period saw a plethora of publications of translations of Russian fiction that were accomplished by professional translators, Slavonic scholars, and writers. These translations appeared in periodicals and other print formats. The article provides an overview of the translation of works of F. M. Dostoevsky, L. N. Tolstoy, A. P. Chekhov, who have become the most understandable and accessible to the English mentality. It happened thanks to such outstanding translators as C. Garnett, Aylmer and Louise Maude, S. S. Koteliansky (who worked in collaboration with V. Woolf, J. M. Murry), R. E. C. Long and others. Having gained access to high-quality translations of Russian classics, British writers began to study their works in greater detail. The British saw the influence of English and European writers (W. Shakespeare, Ch. Dickens, J.-J. Rousseau, J. W. Goethe, V. Hugo, etc.), e.g., in F. M. Dostoevsky’s works. However, later the Russian influence could also be felt in the Western novel, modifying it. There is an opinion that the works of A. P. Chekhov, translated by Garnett, changed the English short story, making it exactly as we know it. V. Woolf, J. Joyce, B. Shaw, J. Galsworthy, A. Bennett and others admired the depth, style, and language of Russian writers. Translation of works of great Russian authors facilitated the flow of information about Russia and expanded the Brit’s view on the country and its people. It once again confirms the existence of mutual cultural exchange between the two countries from a historical perspective. It can be argued that, despite all the complexities of the relationship, the mutual influence of the literatures of the two countries is quite significant.
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Laperle, Carol Mejia. "Race and Affect: Pleasurable Mixing in Ben Jonson's The Masque of Blackness." Ben Jonson Journal 26, no. 1 (May 2019): 1–20. http://dx.doi.org/10.3366/bjj.2019.0236.
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The critical field of The Masque of Blackness often annotates Queen Anne and her ladies’ blackface performance with a courtier's eye-witness comment that the “lean cheeked moors” were “loathsome” and “ugly.” Yet Ben Jonson's performance text, when read beside Dudley Carleton's correspondences, resists the undue influence of the aristocrat's anecdotal disparagement. This project refuses to take Carleton's denigration as fact. Instead, it investigates the masque's representation of Niger's daughters to develop the affective experience of pleasurable mixing across racial identities and to show how the opulence, innovation, and beauty afforded by blackface are the means to underwrite arguments of political authority. Rather than a deviation from the performance's magnificent appeal, racial impersonation is constitutive of the masque's demonstration of beauty and invention of pleasure. As such, the allegory of King James I's power hinges on a fiction of idealized incorporation that is ideologically powerful precisely because it is primarily an aestheticized, affective experience. Beyond the ostensible trope of racial transformation, Jonson presents the pleasure of mixing across racial identities as the precondition for Britannia's absorption of migrant bodies. Blackness is a visual reminder of an indelible difference that can be absorbed, incorporated, indeed “salved,” by the monarch's faculties of conversion. The affective experience afforded by blackface is thus an argument for the sovereign's power of unification, underwriting what was a largely unfulfilled and controversial political agenda: the coalition of realms under the aegis of Great Britain.
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Creasy, Matthew. "Arthur Machen: Decadent and Occult Works. Ed. by Dennis DenisoffArthur Machen: The Great God Pan and Other Horror Stories. Ed. by Aaron WorthMachin, James. Weird Fiction in Britain 1880–1939." Forum for Modern Language Studies 56, no. 1 (January 1, 2020): 112–13. http://dx.doi.org/10.1093/fmls/cqz063.
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