Academic literature on the topic 'Short stories – Criticism and interpretation'
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Journal articles on the topic "Short stories – Criticism and interpretation"
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Frolova, Marina V. "Indonesian Horror Story by Intan Paramaditha." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 3 (2020): 368–79. http://dx.doi.org/10.21638/spbu13.2020.304.
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Analysis and interpretation of the short stories by Indonesian female writer Intan Paramaditha (Intan Paramaditha, born in 1979) make it possible to understand that her writing occupies a special niche in the modern Indonesian literary paradigm. Paramaditha’s feminist texts are disguised as horror stories with settings in contemporary Indonesia. The article examines five short stories (“Spinner of Darkness” (Pemintal Kegelapan), “Vampire” (Vampir), “Polaroid’s Mystery” (Misteri Polaroid), “The Blind Woman without a Toe” (Perempuan Buta tanpa Ibu Jari), and “The Obsessive Twist” (Goyang Penasaran)). Using the intertextual method, it was possible to prove the gothic poetics of these literary works. The short stories contain the mosaic of folklore-mythological motives from the Malay Archipelago, Biblical and Quranic narratives, as well as European fairy tales and allusions to American horror fiction and horror films. Her prose is built upon some borrowed European literary forms for expression of authentic Indonesian content. The social themes are intertwined with feminist criticism that is presented as a Kitsch of the Indonesian mass culture. In “The Obsessive Twist” the main conflict is focused on the heated debates on sexuality, politics, violence, and religion. The feminist agenda of her prose is contrasted with the turn of contemporary Indonesia towards a Muslim patriarchal society. Paramaditha’s works represent a unique product of West-East-synthesis aimed not only at the Indonesian, but also the global audience.
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Boltwood, Scott. "‘Mildly Eccentric’: Brian Friel's Writings for the Irish Times and the New Yorker." Irish University Review 44, no. 2 (November 2014): 305–22. http://dx.doi.org/10.3366/iur.2014.0126.
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The conventional view of Brian Friel's career portrays him as a struggling writer whose first stories appeared in the New Yorker in late 1959. After briefly producing a small body of finely crafted, albeit conventional, short stories, he devoted himself to writing plays full-time after the phenomenal success of Philadelphia, Here I Come! (1964). This traditional interpretation of Friel's career also relies upon the assertion that the young writer also turned away from prose because of his inability to break free of the genre's constricting conventions, which were imposed both by foreign editors demanding nostalgic portrayals of rural Ireland and, as first argued by Ulf Dantanus, by Friel's own ‘failure to free himself’ from the influence of Frank O'Connor. This article challenges our view of Friel's early career in several ways. First and foremost, it uncovers a trove of seventy six previously unknown ‘essay/stories’ that he wrote for The Irish Times between September 1957 and May 1962, short experimental pieces that force the reader to question her/his assumptions about the form and content of Friel's early career. Second, when contextualized among his uncollected stories for the New Yorker and the Irish Press, we recognize a radically different story writer than previously described in the criticism.
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Morozova, Svetlana N., and Dmitriy N. Zhatkin. "CREATIVE WORKS OF JOHN WILLIAM CHEEVER IN THE LITERARY-CRITICAL INTERPRETATION OF KORNEY CHUKOVSKY." Vestnik of Kostroma State University, no. 2 (2020): 164–70. http://dx.doi.org/10.34216/1998-0817-2020-26-2-164-170.
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The article deals with the comprehension of the features of perception of works of American prose writer John William Cheever (1912-1982) by Korney Chukovsky. The appearance of the works of J. Cheever in Russian language was accompanied by the comments of Soviet researchers who considered him to be an active propagandist of socialist ideas. Literary critical works written by Korney Chukovsky provoked a more thoughtful reading of the works of the American writer by Russian readers. Korney Chukovsky is the author of the preface to the collection of short stories written by J. Cheever in translations of Tat’yana Litvinova entitled «Giant Radio» published in 1962. In the future, this introduction, with amendments and additions, was published as an article of «John Cheever». The American writer’s work perception by Korney Chukovsky of was not unique. He criticised the fi rst collection of short stories by J. Cheever «The Way Some People Live» (1943), for his student imitation of the recognisable style of predecessor writers. Korney Chukovsky believed that the best stories of J. Cheever were collected in the book «The Enormous Radio and other stories» (1953), the central themes of which were the imperfection of the social structure and the causes that caused it social inequality of people, their spiritual devastation. Analysing the stories of J. Cheever, Korney Chukovsky noted a signifi cant detail – despite the seeming impartial attitude towards his heroes in trouble, J. Cheever empathises them, wants to draw public attention to important problems of our time.
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BUDNYI, Vasyl. "BOHDAN LEPKY`S LITERARY CRITICISM IN “SLOVANSKÝ PŘEHLED” JOURNALLITERARY CRITICISM IN “SLOVANSKÝ PŘEHLED” JOURNAL." Problems of slavonic studies, no. 68 (2019): 162–74. http://dx.doi.org/10.30970/sls.2019.68.3077.
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Abstract Background: A famous literary critic and writer, representative of the “Moloda Muza” group, B. Lepky was published in numerous Ukrainian and foreign journals in the early twentieth century. Today, his cooperation with Polish and German editions has been partially explored, but the Czech direction remains almost unclear. There are only individual references to B. Lepky's cultural publications in the “Slovanský přehled” journal in the works of V. Doroshenko, V. Lev, B. Rubchak. Purpose: The purpose of the study is to analyze the interpretative bases of B. Lepky's publications in “Slovanský přehled”, namely, five annual reviews of Ukrainian literature (1901, 1902, 1903, 1905, 1906) and three cultural pieces of knowledge: about the composer M. Lysenko, about the translation of short stories by M. Kotsiubynsky into Polish, and the scientific works of M. Hrushevsky, B. Barvinsky and V. Shchurat. Results: B. Lepky followed I. Franko in editing “Slovanský přehled” journal. I. Franko prepared the ground for the Czechs to familiarize them with Ukrainian literature. In a series of annual reviews, B. Lepky considered Ukrainian literature in the pan-European context, translating the realities of national culture into the language of universal cultural concepts. Not contradicting realism and modernism, the critic appraised the high artistic value of the works by Lesya Ukrainka, V. Stefanyk, M. Kotsyubynsky, O. Kobylyanska, which were marked by modern stylistic trends. Trying to convey the original content to the foreign reader, B. Lepky approached his critical speech to the poetic one, painting it with impressionistic strokes and symbolic imagery. The author concluded that the importance of B. Lepky’s Czech publications was important for understanding the ways in which Ukrainian writing was modernized and contextualized in Slavic and pan-European culture in the early twentieth century. Key words: Modernism period, literary process, critical writing, literary review, review, contextualization, impressionism, symbolism.
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Lightbody, Brian. "The Passive Body and States of Nature: An Examination of the Methodological Role State of Nature Theory Plays in Williams and Nietzsche." Genealogy 5, no. 2 (April 13, 2021): 38. http://dx.doi.org/10.3390/genealogy5020038.
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In his work Truth and Truthfulness, Bernard Williams offers a very different interpretation of philosophical genealogy than that expounded in the secondary literature. The “Received View” of genealogy holds that it is “documentary grey”: it attempts to provide historically well-supported, coherent, but defeasible explanations for the actual transformation of practices, values, and emotions in history. However, paradoxically, the standard interpretation also holds another principle. Genealogies are nevertheless polemical because they admit that any evidence that would serve to justify a genealogical account is indexical to a perspective. In short, genealogies are not true per se. This view of genealogy leaves it vulnerable to three criticisms. I call these three: (1) the reflexive, (2) the substantive, and (3) the semantic. In contrast, Williams argues that all genealogies provide a functional account for the manifestation of something and further, that a State of Nature story subtends these accounts. The upshot of Williams’ approach is that it makes for strange philosophical bedfellows. For example, Nietzsche’s account for the rise of Christian morality shares methodological features with Hobbes’ functional explanation for the emergence of civilization and yet Nietzsche seems to take issue with genealogists who are hypothesis mongers gazing haphazardly into the blue. In the following article, I flesh out, more fully, how to make sense of Williams’ novel reclassification of genealogy. I show that Nietzsche’s genealogies are State of Nature stories and, just like Hobbes’ State of Nature story in chapter thirteen of Leviathan, are subtended by our collective corporeality. I then demonstrate how Nietzsche’s three stories in the Genealogy, when brought together, serve to undermine what Williams refers to as “… a new system (of reasons)—which very powerfully resists being understood in such terms …” Finally, I explain how my reconstruction of Williams’ interpretation of the genealogy immunizes it against the three criticisms noted above.
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Burak, Michail S. "SOME ASPECTS OF LINGUISTIC ANALYSIS OF H. KORTASAR’S SHORT STORY «СONTINUITY OF PARKS»." Verhnevolzhski Philological Bulletin 22, no. 3 (2020): 134–40. http://dx.doi.org/10.20323/2499-9679-2020-3-22-133-139.
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This research is devoted to H.Kortasar’s short story «Сontinuity of parks». The relevance of the topic is connected with the possibility to make a multidimensional analysis. The aim of the research is to demonstrate great importance of linguistic analysis of a short story for the revealing of its meaning. In the Introduction a short description of the structure of the story is given. There are two plans, two realities which exist parallel to each other and at the end they meet. The main character of the story «Сontinuity of parks» is the victim of the character of the novel read by him. The second part of the article is devoted to the short view of the literature criticism of this piece of work. The main attention is given to the phenomenon of metallepsis, the notion of chronotope, the category of myth and connection of this piece of work with H. L. Borhes’s works. The author of the article also pays attention to H. Kortasar’s aesthetic concept connected with the phenomenon of «reader-female» and the author’s view on a literature piece of work from the viewpoint of «play». The relevance of «interaction between key moments of the text» and a reader’s experience. The third part of the article gives a linguistic analysis of some elements of the story including nominalization and ontological metaphor. The author gives a detailed analysis of lexeme and phrase dibujo (drawing, outline), el dibujo de los personajes (outline, character sketch), ilusióni (illusion), intrusion (intrusion), continuidad (continuity). As a result the author makes following conclusions. As in many other stories H. Kortasar in «Continuity of parks» involves the reader in the narration, gives a riddle to him which can’t be solved from the viewpoint of formal logics. The intrigue of the narration, its «its inner structure» is implemented because of great opportunities of Spanish. The interpretation of an open end in some literature works of postmodern period is the main task of the reader who becomes а «co-author» of the text.
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Porret, Michel. "L'etica e le domande dello storico: Bronislaw Baczko." HISTORIA MAGISTRA, no. 2 (November 2009): 108–15. http://dx.doi.org/10.3280/hm2009-002010.
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- What meaning has the Enlightenment in relationship to modernity and progress of the human spirit? This question is the main theme of the historiographic work of Bronislaw Baczko, whose thought is revisited by Michel Porret in the short introductory essay to the article of the polish intellectual. Porret captures the central essence of Baczko's work, in which he recognizes in the century of Voltaire the roots of modern political thought. Through his studies of intellectual, cultural and political history of the eighteenth century, the polish historian renewed the way of interpreting the heritage of the Enlightenment. In fact, he causes a break with the historiographic tradition by emphasizing that the symbolic, philosophical and legal apparatus that the French Revolution of 1789 inherited from the Enlightenment, is the premise to the invention of democracy. Porret highlights Bazcko's interpretation of this cultural and political project beginning with Rousseau's criticism of eighteenth century's thought and society. The Genevan philosopher provided cultural, linguistic and political tools to the Revolution, which, in turn, elaborated a new political language through the dialect between «exercise of power» and «collective imagination». According to Porret, from this «imagination» that intertwines politics and society and represents its power through symbolic spaces such as the Panthéon and other monuments, Bazcko conceived the idea of utopia as a «mental horizon» that gives meaning to the expectations of the community and which imposes on democracy its continuing institutional reform. The conclusions of Porret tend to emphasize that the polish historian is not disenchanted towards the moral responsibilities of those who make history. According to Bazcko, to examine «modern political myths», born with the Enlightenment, means to give meaning to «our democratic culture rooted in our egalitarian imagination» and to the ethical role of the historian.Key words: the Enlightenment, Rousseau, revolution, progress, modernity, utopia, imagination, democracy.Parole chiave: Illuminismo, Rousseau, rivoluzione, progresso, modernità, utopia, immaginario, democrazia.
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Somacarrera, Pilar. "“How Can You Use Two Languages and Mean What You Say in Both?”1: On Translating Margaret Atwood’s Poetry into Spanish." TTR : traduction, terminologie, rédaction 18, no. 1 (December 18, 2006): 157–81. http://dx.doi.org/10.7202/014371ar.
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Abstract Contrary to what might be expected, a Canadian literature in Spanish translation already exists and, expectedly, Margaret Atwood is one of the most translated writers. All her novels except Life Before Man, as well as three of her collections of short stories and three of her poetry collections have been translated into Spanish. Her work has received excellent reviews in Spain which have also praised her translators. This essay focuses on my own experience translating Atwood’s poetry–her collection Power Politics (Juegos de poder, 2000)–into Spanish, in an approach which compares my own project of translation or “projet-de-traduction,” as formulated by Antoine Berman, with that of the other translations of her poetry into Spanish. Being a university teacher and a researcher in Canadian literature, and not a specialist in Translation Studies, my approach is necessarily pragmatic and not theoretical. Bearing in mind Barbara Folkart’s contention that poetry is a cognitive activity and the multiplicity of interpretations that the poems offer, in which the feminist one is prominent, I tried to produce a translation which was as close as possible to the original characteristics of Atwood’s poetry in its tone, lineation and imagistic dimension. The first steps were the stylistic analysis, which resulted in a rhetorical study of the poems, and then the review of the existing criticism about the poems. The main problems which arose during the translation were related to the political and feminist connotations of the poems. If the political context is crucial in Power Politics, the cultural background is vital in The Journals of Susanna Moodie, although it has been erased in its Spanish version (Los diarios de Susanna Moodie, 1991, by Lidia Taillefer and Álvaro García). This is not an unusual phenomenon, since translation consists in an often insurmountable paradox which is formulated in the lines by Margaret Atwood quoted in the title of this article: trying to formulate the same idea in two languages which function differently and have completely different cultural contexts.
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Rabbany T, Al-Faiz M., and Indal Abror. "TAFSIR PROGRESIF ATAS KISAH-KISAH DALAM AL-QUR’AN KARYA EKO PRASETYO." Jurnal Studi Ilmu-ilmu Al-Qur'an dan Hadis 19, no. 1 (October 12, 2019): 85. http://dx.doi.org/10.14421/qh.2018.1901-05.
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Kitab Pembebasan is Eko Prasetyo’s first work in the field of interpretation contains the stories of prophets and friends in the Qur'an. For him, the stories of the prophets no longer have the power to change circumstances, then progressive logic brings Eko to an interpretation of the stories of the prophet to the surrounding social problems. When many commentators who interpret the Quran relate to the social community, then interpreting the Quran leads to social criticism being unique to discuss. So this paper is focused on discussing social criticism in the Book of Liberation. In this paper, there are indications of the content of social criticism Eko Prasetyo then grouped them into five fields, namely economics, religion, education, politics and society. Then explained based on the theme specifically. Then develop social criticism based on each theme. Among them is a criticism of the economic system of capitalism, interpretation of the meaning of Satan, tyranny, seditious and idolatrous, religious and financiers, criticism of Suharto and the New Order, the case of the murderous activist Salim deer. Also, Eko's other works were reviewed to develop his criticisms. The interpretation for Eko through the Book of Liberation is the contextualization of the problems that occur around him, Eko does not care about the interpretation of the interpretation, because for Eko, the Qur'an is a book of movements that must be practiced.Keyword: Eko Prasetyo, Progressive Interpretations, Qissah, al-Qur’an
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Ayu Sulastri, Ni Kadek, and Putu Sutama. "Kritik Sosial pada Kumpulan Cerpen Aud Kelor Karya Carma Citrawati Analisis Sosiologi Sastra." Humanis 25, no. 3 (August 28, 2021): 352. http://dx.doi.org/10.24843/jh.2021.v25.i03.p12.
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This research entitled “Social Criticism in Aud Kelor Short Story Collection by Carma Citrawati Analysis of Literary Sociology”. There are three short stories that were studied, namely the short stories entitled Wayan Kelor, Siaappp Presiden, and Keneh Pasih. The three short stories were analyzed by structural theory from Nurgiyantoro and sosiology of literature from Wellek and Warren. This research aims to describe the narative structure, the author’s background, and social criticism contained in the three short stories. Methods and techniques used in this study was divided into three stages. The stages of methods and data collection techniques used two methods, namely the simak and record technique. The stages of methods and data analysis techniques using qualitative methods supported by analytic descriptive techniques. Methods and techniques for presenting the results of data analysis using informal methods are supported by inductive techniques and deductive techniques. The result from this research is structure narative from the three short stories, namely: incidents, plot, characters and characterizations, settings, themes, and moral value of the stories. The second research result is an explanation of the author's biography. The third research result is social criticism contained in the three short stories, namely: injustice in law, education, politic, and socio-cultural. The author conveys the social criticism through characters and themes. This social criticism is conveyed specifically to readers and in general to society and the government. The author aims to make readers aware to open their mindset to their surroundings.
Dissertations / Theses on the topic "Short stories – Criticism and interpretation"
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Teichert, Evelyne. "Zhang Ailing's experimental stories and the reader's participation in her short stories and novellas." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/28303.
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This thesis is an in-depth analysis of three later short stories "Lust and Restrictions" (Characters Omitted),"Flowers and Pistils Floating on the
Waves" (Characters Omitted), and "Happy Reunion" (Characters Omitted), written by the 1921 Shanghai born Chinese author Zhang Ailing. The analysis takes a look at the structure of these short stories and discovers that they differ from her earlier short stories, that is those she wrote ten years earlier in the 1940s, in their structural and narrative approach and thereby place a greater demand upon the reader's participation.
These three stories are the only short stories by Zhang Ailing that do not develop in a linear fashion. The author introduces them in the preface of the anthology Sense of Loss by calling the second story "Flowers and Pistils Floating on the Waves" an "experiment." Because of their similar structural and narrative approach, I called all three of them "experimental" which really means the same as "modernists", to distinguish them from her earlier linear stories.
The three major characteristics of the experimental stories, that is—the narrative happening in the character's minds, the chronological distortion of the narrative and the almost invisibility of a narrator large subordinated to the character's presence—all have the effect of bringing the reader close to the characters' subjective thoughts and reflect the characters' state of mind in the stories' present time, depending on the frequency of the switches between the times, that is between the past happening in the characters' minds and the stories present time. The reader's participation in these three stories is largely due to the narrative structure while in some of Zhang Ailing's lienar stories, as examined in this paper, it is based on the stories' content.
The political changes in China, and the author's move away from the mainland could account for her increasingly pessimistic outlook on life reflected in the disjointed structures of the "experimental" stories.Arts, Faculty of
Asian Studies, Department of
Graduate
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Madamombe, Esrina. "Hope and disillusionment: a post-colonial critique of selected South African and Zimbabwean short stories." Thesis, University of Fort Hare, 2008. http://hdl.handle.net/10353/170.
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This study investigates short stories published in South Africa and in Zimbabwe before the turn of the twenty-first century. The short story as a genre provides a more accessible and shorter means of viewing literary trends after the official end of the hostilities of apartheid and colonialism. Because of their brevity and specific focus, these short stories from many voices allow a glimpse of different arenas affecting contemporary reality. Post-independence stories reveal that in the process of navigating or directing hope after independence, people are sometimes left bereft as disenchantment with politics sets in, leaving people to search for hope in areas of their everyday lives such as marriage, birth and friendship. But because their lives are also fraught with conflict, hate and betrayal, hope may remain uncertain and prospects frightening. Chapter One embarks on a brief historical and political background of South Africa and Zimbabwe. This chapter also conceptualizes the issues of hope and disillusionment in the South African and Zimbabwean socio-historical contexts. Chapters Two and Three analyze selected stories from South Africa and Zimbabwe, respectively, focusing on issues with which the writers are preoccupied, especially how they explore hope and disillusionment. The analyses of the stories in these two chapters are structured chronologically depicting events in the stories. Thus the study creates its own narrative of South African and Zimbabwean life towards the new millennium. These two chapters discuss how meanings, significances and ramifications of the post-colonial community are negotiated and re-negotiated in selected stories, highlighting the challenges and engagements with hope and disillusionment dramatized in short prose fiction. Chapter Four will undertake to conclude with comparisons of the selected stories, discussing the implications of the study for South African and Zimbabwean contemporary societies at the turn of the twenty-first century. Granted, it is always difficult to generalize about a society from such highly individual, personal stories. But my study suggests that at the turn of the twenty-first century in South Africa, disillusionment is beginning to displace the heady expectation many felt at the 1994 election. And perhaps even more unlikely, given the current crisis, Zimbabwean stories from recent years show people hopefully waiting for the new millennium, a dawning of new, unpredictable possibilities.
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Crew, Teresa Ammons. "A creative interpretation of the short stories of Kate Chopin through dramatic play-manuscripts." Thesis, University of Wales Trinity Saint David, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683263.
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Lemieux, Martha. "The evolution of irony in the short stories of Chekhov /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60576.
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In the corpus of Chekhov's prose there is a perceptible evolution in his use of irony. This study involves an examination of the use of irony in the initial, middle and final phases of his artistic career. It will demonstrate that in the initial phase, Chekhov's use of irony was direct and overt; in the middle phase, it was more deliberate and covert; and in the final phase, it was subdued, more transparent and transcendent. Selected stories taken from all three periods will illustrate this evolution.
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Brown, Mary M. "Edith Wharton's irony : from the short stories to the infinitudes." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/720141.
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Although Edith Wharton is finally recognized as a major American novelist, her remarkable canon of short stories has been largely ignored. Such neglect is regrettable, for the diversity of the stories suggests that some common perceptions of Wharton may well be misconceptions: that her works are masterpieces of technique, but not content; that her inconsistency reflects an instability; that her works are pervaded with a repressing pessimism. The short stories evoke a reconsideration of these prevailing attitudes about Wharton and her art.The stories reinforce the critics' evaluation of Edith Wharton as a master of rhetorical strategy. She employs verbal irony and situational irony. She also focuses closely on the ironies in American society, particularly those associated with the upper class, with marriage, and with art. But Wharton's conscious and pervasive use of irony in the stories points to the fact that she is a philosopher of irony as well.The philosophy of irony -- a philosophy of constant revisionism, questioning, and subjunctivity, of the rejection of absolutes, and of the celebration of paradox and ambivalence -- is one which reconciles many of the conflicts both in Wharton's short stories and in her life. It accounts for Wharton's insistence in her letters and her autobiography of the possibilities of life and for the optimism and hope that are clearly demonstrated in the stories. Despite the conclusions that have traditionally been drawn by critics who have focused on Wharton the novelist, the stories reinforce what the life has also suggested: that Edith Wharton actually achieved transcendence, hope, and joy.Chapter Five of this study reevaluates Ethan Frome, often considered Wharton's most pessimistic novel, in light of her philosophic irony. It challenges the commonly held notion that Ethan Frome is only a technical success, assuming the position that technique and vision cannot be separated. It finds in the ambivalence of the book an acknowledgment of possibility -- tones of optimism, triumph, and celebration. Furthermore, this dissertation suggests that a second look, with an eye toward Wharton's philosophy of irony as well as her techniques of irony, is warranted for each of the novels.Department of English
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Hardy, Donald E. (Donald Edward). "Politeness as a Conversational Strategy in Three Hemingway Short Stories." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc503982/.
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Hemingway's dialogue and the texts of politeness and literature -- Brown and Levinson's politeness strategies -- The face of honesty in "The Doctor and the Doctor's Wife -- The face of bravery in "The Short Happy Life of Francis Macomber" -- The face of love in "Hills Like White Elephants" -- Interpretive implications of politeness theory.
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Cooke, James M. (James Michael). "The Grotesque Tradition in the Short Stories of Charles Bukowski." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc501093/.
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The style and themes central to Bukowski's prose have roots in the literary tradition of the grotesque. Bukowski uses grotesque imagery in his writings as a creative device, explaining the negative characteristics of modern life. His permanent mood of angry disgust at the world around him is similar to that of the eighteenth-century satirists, particularly Jonathan Swift. Bukowski confronts the reader with the uglier side of America--its grime, its corruption, the constricted lives of its lower class--all with a simplicity and directness of style impeccably and clearly distilled. Bukowski's style is ebullient, with grotesquely evocative descriptions, scatological detail, and dark humor.
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Ntaganira, Vincent. "Alex La Guma’s short stories in relation to A Walk in the Night: A socio-political and literary analysis." Thesis, University of the Western Cape, 2005. http://hdl.handle.net/11394/1640.
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Magister Artium - MAThe minithesis provides a detailed socio-political and literary analysis of A Walk in the Night: Seven stories from the streets of Cape Town. It investigates and systematically compares each short story to the novella or compares the short stories with each other and shows their thematic and formal similarities and differences. The results of the study will provide a valuable contribution to the study of African literature. It will complete what other critics have left out. No one among La Guma’s scholars has analysed the anthology as a single entity; most critics have analysed the novella and have not analysed the accompanying short stories. As a result, the relationships between the novella and the short stories are unknown to many readers. I argue that this needs to be corrected. In order to situate the thesis, the study also presents a selected list of critics who have studied the novella and the short stories, and indicates their achievements and their shortcomings. The study will be carried out from a Marxist perspective, and will explore the use of realist and naturalist literary styles. Marxism will provide the socio-political and theoretical framework. Naturalism and realism are the two main literary genres that occur in the anthology.
South Africa
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Kuxdorf, Stephanie. "Love in a machine age : gender relationships in the novels and short stories of F. Scott Fitzgerald." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59896.
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The primary purpose of this study is to examine the effects of the social and cultural revolution in post-World War One American society on gender relationships in F. Scott Fitzgerald's novels and a selection of his short stories. In his fictional works, Fitzgerald becomes a kind of social and cultural historian, reflecting the fundamental changes that began to occur in the 1920s. There were many factors that contributed to this Jazz-Age revolution in "manners and morals": the emancipation of women, giving rise to the American New Woman; the influence of Freud and his psychoanalytic theories on the already blossoming sexual revolution; and the mechanization and commercialization of all aspects of life in the machine age, drastically altering the way men and women had traditionally thought, behaved, and, communicated with one another.
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Kaplan, Stacey Meredith 1973. "The modern(ist) short form: Containing class in early 20th century literature and film." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.
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ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature
Books on the topic "Short stories – Criticism and interpretation"
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Harold, Bloom. John Steinbeck's short stories. New York: Bloom's Literary Criticism, 2011.
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Harold, Bloom. J.D. Salinger's short stories. New York: Bloom's Literary Criticism, 2011.
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Lybyer, J. M. CliffsNotes Poe's Short Stories. New York: John Wiley & Sons, Ltd., 2002.
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1897-1962, Faulkner William, ed. William Faulkner's short stories. Ann Arbor, MI: UMI Research Press, 1985.
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Harold, Bloom. F. Scott Fitzgerald's short stories. New York: Bloom's Literary Criticism, 2011.
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Harold, Bloom. Mark Twain's short stories. New York: Bloom's Literary Criticism, 2011.
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Roberts, James Lamar. Faulkner's short stories: Notes. Lincoln, Neb: Cliff's Notes, 1997.
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Roberts, James Lamar. CliffsNotes Hemingway's Short Stories. New York: John Wiley & Sons, Ltd., 2000.
Find full textBook chapters on the topic "Short stories – Criticism and interpretation"
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Di Iorio Sandín, Lyn. "The Latino Scapegoat: Knowledge through Death in Short Stories by Joyce Carol Oates and Junot Díaz." In Contemporary U.S. Latino/ A Literary Criticism, 15–33. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230609266_2.
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Holmesland, Oddvar. "Structuralist Interpretation Structuralism and Interpretation." In New Critical Approaches to the Short Stories of Ernest Hemingway, 58–72. Duke University Press, 1990. http://dx.doi.org/10.1215/9780822382348-005.
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Holmesland, Oddvar. "Structuralism and Interpretation:." In New Critical Approaches to the Short Stories of Ernest Hemingway, 58–72. Duke University Press, 2013. http://dx.doi.org/10.2307/j.ctv123x676.9.
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"Structuralist Interpretation: Structuralism and Interpretation: Ernest Hemingway's "Cat in the Rain"." In New Critical Approaches to the Short Stories of Ernest Hemingway, 58–72. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822382348-007.
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"A Comprehensive Checklist of Hemingway Short Fiction Criticism, Explication, and Commentary, 1975–1989." In New Critical Approaches to the Short Stories of Ernest Hemingway, 395–458. Duke University Press, 2013. http://dx.doi.org/10.2307/j.ctv123x676.40.
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Jack, Belinda. "6. Making sense of reading." In Reading: A Very Short Introduction, 94–113. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198820581.003.0006.
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Reading is an interpretative act and this is not simply the case when it comes to what we think of as more complex writing—religious scriptures, philosophical texts, legal documents, or literary works. The simplest language can need interpretation. Hermeneutics is the discipline that concerns itself with the theory and methodology of interpretation. Its history is crucial to the history of reading and brings to the fore the myriad ways in which reading has been understood across time and space. ‘Making sense of reading’ considers the relationships between rhetoric and translation with reading, and then discusses the study of literature, modern literary criticism, and the concept of rereading.
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Nelson, Brian. "Introduction." In Émile Zola: A Very Short Introduction, 1–4. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198837565.003.0001.
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The Introduction looks at the life and career of Émile Zola as a whole. In total he wrote thirty-one novels and five collections of short stories and produced a large body of art, drama, and literary criticism, several plays and libretti, and a prodigious number of articles on political and social issues spanning from 1865 until 1881. Zola is above all a narrative artist: a craftsman, a storyteller, and a fabulist. It is the lyrical and mythopoeic qualities of his work, and the sheer energy and inventiveness of his writing, that make him one of the great figures of the European novel.
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Adams, Jade Broughton. "‘Dancing Modern Suggestive Dances that are Simply Savagery’: Fitzgerald and Ragtime Dance." In F. Scott Fitzgerald's Short Fiction, 30–57. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474424684.003.0002.
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Irene and Vernon Castle were stewards of the transition from Victorian to modern dancing, and Fitzgerald uses this period as the setting for two series of stories. The rigid rules of Victorian dances gave way to a more improvisation-based style, and this chapter argues that a similar shift can be seen in Fitzgerald’s manipulation of short story formulae. This chapter draws parallels between the production lines of Taylorist management philosophies and the dance manuals that broke dances down into fragmented gestures and machinistic imitative steps, contextualising this as part of a wider cultural shift from the artisinal to the mass produced. In the course of his search to regain the popularity of his explosive debut at the beginning of the 1920s, Fitzgerald parodies certain of his early heroines in his later work. The use of such parodic ‘ragging’ and syncopation draws upon musical techniques that emerged from African American culture, such as jazz. Rather than reading these reimaginings as symptomatic of Fitzgerald’s dwindling talents or financial desperation, this chapter argues that this self-parody serves creative aims as well as constituting Fitzgerald’s subtle criticism of the public’s insatiable demand for the formulaic flapper stories favoured by the ‘slick’ magazines.
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"Section III. Criticism, Explication, and Commentary onIndividual Stories, Listed by Story—Including Specific Articles, Segments from Books on Hemingway's Work, and Segments from General Books." In New Critical Approaches to the Short Stories of Ernest Hemingway, 417–58. Duke University Press, 1990. http://dx.doi.org/10.1215/9780822382348-038.
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"Section III. Criticism, Explication, and Commentary on Individual Stories, Listed by Story-Including Specific Articles, Segments from Books on Hemingway's Work, and Segments from General Books." In New Critical Approaches to the Short Stories of Ernest Hemingway, 417–58. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822382348-041.
Full textConference papers on the topic "Short stories – Criticism and interpretation"
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Luo, Ling. "Analysis of Social Criticism in O. Henry's Short Stories." In International Conference on Education, Management and Computing Technology (ICEMCT-16). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemct-16.2016.121.
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Asrul, Muhammad, and Yasnur Asri. "Social criticism in the short stories anthology “Saksi Mata” by Seno Gumira Ajidarma." In Proceedings of the 2nd International Conference on Language, Literature and Education, ICLLE 2019, 22-23 August, Padang, West Sumatra, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.19-7-2019.2289516.
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