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Relevant bibliographies by topics / Twenty-first century fiction

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Academic literature on the topic 'Twenty-first century fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Twenty-first century fiction"

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Tournay Theodotou, Petra. "British Asian Fiction: Twenty-First Century Voices." English Studies 95, no. 2 (January 28, 2014): 231–33. http://dx.doi.org/10.1080/0013838x.2013.838407.

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Cormier, Matthew. "The Destruction of Nationalism in Twenty-First Century Canadian Apocalyptic Fiction." American, British and Canadian Studies 35, no. 1 (December 1, 2020): 5–22. http://dx.doi.org/10.2478/abcsj-2020-0014.

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Abstract This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures.

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Lua, Shirley O. "Recreating the World in Twenty-First-Century Philippine Chinese Speculative Fiction." Prism 19, no. 2 (September 1, 2022): 491–508. http://dx.doi.org/10.1215/25783491-9966767.

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Abstract This article surveys contemporary Filipino Chinese authors' interest in speculative fiction. Many of the authors of this burgeoning movement were included in the anthology Lauriat: A Filipino-Chinese Speculative Fiction Anthology (2012), edited by Charles A. Tan. These authors find speculative fiction a fruitful genre for combining Western literary techniques and material gleaned from Philippine myth and folklore.

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Morrison, Jago. "The Turn to Precarity in Twenty-First Century Fiction." American, British and Canadian Studies Journal 21, no. 1 (January 1, 2014): 10–29. http://dx.doi.org/10.2478/abcsj-2013-0017.

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Abstract Recent years have seen several attempts by writers and critics to understand the changed sensibility in post-9/11 fiction through a variety of new -isms. This essay explores this cultural shift in a different way, finding a ‘turn to precarity’ in twenty-first century fiction characterised by a renewal of interest in the flow and foreclosure of affect, the resurgence of questions about vulnerability and our relationships to the other, and a heightened awareness of the social dynamics of seeing. The essay draws these tendencies together via the work of Judith Butler in Frames of War, in an analysis of Trezza Azzopardi’s quasi-biographical study of precarious life, Remember Me.

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Birat, Kathie. "Sara Upstone, British Asian Fiction: Twenty-first Century Voices." Commonwealth Essays and Studies 34, no. 1 (September 1, 2011): 105–6. http://dx.doi.org/10.4000/ces.7947.

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Tew, P. "PETER BOXALL. Twenty-First-Century Fiction: A Critical Introduction." Review of English Studies 66, no. 273 (May 30, 2014): 202–3. http://dx.doi.org/10.1093/res/hgu044.

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Goldman, Dara E., and Brett Ashley Kaplan. "Twenty-First-Century Jewish Writing and the World." American Literary History 33, no. 4 (November 16, 2021): 703–8. http://dx.doi.org/10.1093/alh/ajab072.

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Abstract This introduction situates the essays about twenty-first century Jewish writing and the world in light of the exciting line up of writers who joined us at the University of Illinois for a series bridging fiction and scholarship. Nicole Krauss, Ruby Namdar, David Bezmozgis, and Ayelet Tsabari--Jewish writers from Israel, the U.S., and Canada, span a range of modalities and thematic concerns that ultimately illuminate the complexities of Jewish writing.

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Johnsen, Rosemary Erickson. "Twenty-First-Century Irish Mothers in Tana French's Crime Fiction." Clues: A Journal of Detection 32, no. 1 (March 31, 2014): 61–70. http://dx.doi.org/10.3172/clu.32.1.61.

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Segal, E. "Fiction Now: The French Novel in the Twenty-first Century." Poetics Today 31, no. 2 (May 25, 2010): 379–80. http://dx.doi.org/10.1215/03335372-2009-033.

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Kemp, S. "Fiction Now: The French Novel in the Twenty-First Century." French Studies 63, no. 3 (June 24, 2009): 372–73. http://dx.doi.org/10.1093/fs/knp073.

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Dissertations / Theses on the topic "Twenty-first century fiction"

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Gapsch, Andrea. "Narrative Techniques in Twenty-First Century Popular Holocaust Fiction." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1618244388233822.

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Wang, Wanzheng Michelle. "Reclaiming Aesthetics in Twentieth- and Twenty-First-Century Fiction." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1435584142.

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Ng, Soo Nee. "(Re)configurations of power and identities in twenty-first century fiction." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4785/.

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My dissertation is interested in exploring dialectical relations that reveal complex power (im)balances in recent fiction. In my close reading of five novels published since the year 2000, I reflect on the postmodern legacy in the twenty-first century, after the declaration of the death of metanarratives and the concomitant emergence of marginalized voices in late twentieth century. How has fiction in recent years engage with persistent macro narratives in the light of emergent voices? What are the new questions and/or positions that are opened up, recurring issues that are unsettled, or even promises unfulfilled, in these writings with regards to the ‘maturation’ of formerly disenfranchised identities? There are three main areas of contention that I will analyse in my reading of the novels: gender relations, diasporic and local identities, as well as the role of scientific thought in present-day representations of identities, particularly its narratives of Darwinism, genetics and reproduction. They are compelling issues as, despite the postmodern drive to collapse margins and center, they represent instances of recurring peripheral and dominating narratives; indeed, even as familiar power dynamics are challenged or undermined, new ones are born. I will examine in individual chapters the novels’ portrayal of both old and new structures of opposition and power within the discourse of two formerly disenfranchised voices: the female and the colonized/decolonized. Following this will be a chapter on the literary reflection on the hegemonic role of science in our society today. These chapters, as well as areas of overlap within and among them, reveal the ever-increasing complexity and interconnectedness of power relations that demand the intellectual skill, dexterity, and concentration akin to that of a tightrope walker to achieve a nuanced understanding of individual and collective identities in the twenty-first century.

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Parry, Catherine Helen. "Reading animals and the human-animal divide in twenty-first century fiction." Thesis, University of Lincoln, 2016. http://eprints.lincoln.ac.uk/23370/.

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The Western conception of the proper human proposes that there is a potent divide between humans and all other animate creatures. Even though the terms of such a divide have been shown to be indecisive, relationships between humans and animals continue to take place across it, and are conditioned by the ways it is imagined. My thesis asks how twenty-first century fiction engages with and practises the textual politics of animal representation, and the forms these representations take when their positions relative to the many and complex compositions of the human-animal divide are taken into account. My analysis is located in contemporary critical debate about human-animal relationships. Taking the animal work of such thinkers as Jacques Derrida and Cary Wolfe as a conceptual starting point, I make a detailed and precise engagement with the conditions and terms of literary animal representation in order to give forceful shape to awkward and uncomfortable ideas about animals. Derrida contends that there is a “plural and repeatedly folded frontier” between human and nonhuman animals, and my study scrutinises the multiple conditions at play in the conceptual and material composition of this frontier as it is invoked in fictional animal representations. I argue that human relationships with animals are conditioned by our imaginative shapings of them, and that the animals we imagine are, therefore, of enormous significance for real animals. Working in the newly established field of Literary Animal Studies, I read representations of ordinary animals in a selection of twenty-first century novels, including Indra Sinha’s Animal’s People, E. O. Wilson’s Anthill, Carol Hart’s A History of the Novel in Ants, Aryn Kyle’s The God of Animals, Yann Martel’s Beatrice and Virgil, Mark McNay’s Fresh, James Lever’s Me Cheeta, and Karen Joy Fowler’s We Are All Completely Beside Ourselves. I interrogate how fictional animal forms and tropes are responding to, participating in or challenging the ways animals’ lives are lived out in consequence of human imaginings of them. There are many folds in the frontier between human and nonhuman animals, and my thesis is structured to address how particular forms of discursive boundary-building are invoked in, shape, or are shaped by, the fictional representations of animals. Each of the four chapters in this study takes spectively, political, metaphorical, material and cognitive – between humans and other animals. Analysis is directed at developing concepts and critical practices which articulate the singular literariness of the human, ant, horse, donkey, chicken and ape representations encountered throughout my study. Understanding the ways we make animals through our imaginative eyes is essential to understanding how we make our ethical relationships with them. A key task for Literary Animal Studies is to make visible how literary animal representations may either reinforce homogeneous and reductive conceptions of animals, or may participate in a re-making of our imaginings of them. My study contributes to clarifications of the terms of this task by evolving ways to read unusual or unacknowledged manifestations of the human-animal divide, by giving form to previously unarticulated questions and conditions about how animals are imagined, and by evaluating literary re-imaginings of them.

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Tym, Linda Dawn. "Forms of memory in late twentieth and twenty-first century Scottish fiction." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5551.

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According to Pierre Nora, “[m]emory and history, far from being synonymous, appear now to be in fundamental opposition”. Drawing on theories of memory and psychoanalysis, my thesis examines the role of memory as a narrative of the past in late twentieth-century and twenty-first-century Scottish literature. I challenge Nora’s supposition that memory and history are fundamentally opposed and I argue that modern Scottish literature uses a variety of forms of memory to interrogate traditional forms of history. In my Introduction, I set the paradigms for my investigation of memory. I examine the perceived paradox in Scottish literature between memory and history as appropriate ways to depict the past. Tracing the origins of this debate to the work of Walter Scott, I argue that he sets the precedent for writers of modernity, where the concerns are amplified in late twentieth and twenty-first century literature and criticism. While literary criticism, such as the work of Cairns Craig and Eleanor Bell, studies the trope of history, Scottish fiction, such as the writing of Alasdair Gray, James Robertson, and John Burnside, asserts the position of memory as a useful way of studying the past. Chapter One examines the transmission of memory. Using George Mackay Brown’s Greenvoe, I consider the implications of three methods of transferring memory. Mrs McKee’s refusal to disclose her experience indicates a refusal to mourn loss and to transmit memory. Skarf’s revision of historical narratives indicates a desire to share experience. The Mystery of the Ancient Horsemen demonstrates the use of ritual in the preservation and the communication of the past for future generations. Chapter Two studies the Gothic fiction of Emma Tennant and Elspeth Barker. I examine sensory experience as indicative of the interior and non-linear structure of memory. I argue that the refusal to accept personal and familial loss reveals problematic forms of memory. Chapter Three traces unacknowledged memory in Alice Thompson’s Pharos. I use Nicolas Abraham’s theory of the transgenerational phantom to consider the effects of this undisclosed memory. I argue that the past and its deliberate suppression haunt future generations. Chapter Four considers the use of nostalgia as a form of memory. I investigate the perceptions and definitions of nostalgia, particularly its use as a representation of the Scottish national past. Using Neil Gunn’s Highland River, I identify nostalgia’s diverse functions. I examine nostalgia as a way in which, through the Scottish diaspora, memory is transferred and exhibited beyond national boundaries. Chapter Five builds on the previous chapter and extends the analysis of the ways nostalgia functions. I study nostalgia’s manifestations in the diasporic Scottish-Canadian literature of Sara Jeanette Duncan, John Buchan, Eric McCormack, and Alastair MacLeod.

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Binney, Sara Helen. "Folklore and the fantastic in twenty-first-century fiction, and, Depths : a novel." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/63134/.

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This thesis is, and is about, fiction which reworks folkloric narrative using aesthetics and ethics which react against postmodernism. Part one is a critical essay in which I define a group of such novels written in the early twenty-first-century as 'folklore-inflected', and examine how they set themselves apart from the postmodernist fairy tale fictions which came before them. Focusing on A Summer of Drowning by John Burnside, Eowyn Ivey's The Snow Child, and Patrick Ness's The Crane Wife, I show how they turn from irony to sincerity, from magic to the Todovorian fantastic, and from overt political engagement to a quieter ethics linked to the sublime and the sacred. Part two comprises a novel, Depths, which enacts and develops many of the paradigms described in part one, for example by eschewing postmodern irony in the narrative style and focusing on characters' various attempts at authenticity. It retells the Celtic legend of the kelpie, a shape-shifting water horse which tempts people into drowning, in present-day Scotland; at the same time it is a story of a disappearance (of Iain - friend, brother, and almost-lover to the protagonists) and an appearance (of Mary, who cannot remember who she is), and their consequences for the three people they affect most closely. Following Donall, Dia, and Fay as their lives are infiltrated and their desires twisted by Mary's influence, the novel maintains a fantastic hesitation around the character of Mary, whose increasing manipulation may, or may not, have its roots in folklore.

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Malvestio, Marco. "The conflict revisited: representing the second world war in twenty-first century fiction." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3427295.

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The thesis seeks to illuminate the post-postmodern poetics of contemporary global literature about World War II. Whereas twentieth-century novels concerned with the representation of the Second World War tend toward postmodern playfulness and deconstructivism, contemporary literatures about the Second World War, I argue, pay renewed attention to reality. Through textual examples, I convey how authors reprise the techniques of modern and classical genres in tandem with postmodern traits in order to realise the Second World War as an historical event as well as a discursive subject and a plot device through which to explore the intersections of human history and violence. This thesis considers in detail works by Chilean author, Roberto Bolaño; French author, Jonathan Littell; American author, William T. Vollmann; and Australian author, Richard Flanagan. It also makes comparisons between their approaches to representing World War II and those of other writers such as Philip Roth, Laurent Binet, Giorgio Falco, Martin Amis, Andrea Levy, Sarah Waters, Ian McEwan, and others. The breadth of authors analysed is intended to convey the extent to which contemporary representations of World War II converge around a postpostmodern return of the real, and therefore testify to the evolution of post-postmodern poetics as an international phenomenon and the form of the global novel.

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Lee, Jason Eng Hun. "'All is not Well in the world' : critical cosmopolitanism in twenty-first century fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197089.

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This thesis considers how contemporary American and British novels at the turn of the century attempt to conceptualize global human, political, economic and ecological risks through different levels of global connectedness. Taking a theoretical approach, the thesis offers up the notion of critical cosmopolitanism as a form of literary critique that might help to connect the field of literature to current sociological debates about globalization and cosmopolitanism. Critical cosmopolitanism is summarized here as follows: a predisposition towards cosmopolitan ideals but also a self-reflexive awareness of its perceived ideological and narrative shortcomings; a desire to conceive of a planetary self-conscious by maneuvering across and between spatial containers like the nation-state; an attempt to map disjunctive flows of global capital onto various narrative ‘worlds’; a type of narrative reflexivity that is transferred onto the reader. The thesis comprises of two parts. Part 1 considers how the war on terror discourse problematizes novelists’ attempts to imagine planetary connectedness, and their struggles to imbue their readers with a self-reflexivity as an act of critical cosmopolitanism. Chapter 1 discusses the representational challenges that 9/11 presents to the novelist in terms of historicity, and outlines some of the prevailing metanarratives/counternarratives that are projected by them. Chapter 2 considers how alterity is used to critique or negotiate representations of the terrorist persona in novels by Don DeLillo, John Updike and Mohsin Hamid. Pointing to flaws in their narrative forms, these novelists enable their reader to transcend certain ideological boundaries which are denied to their own protagonists. Chapter 3 considers the interrelationship between terror and the spectacle in novels by Don DeLillo, Jonathan Safran Foer and Ian McEwan, looking at how 9/11’s images are able to project itself across the world but still reduce viewers’ capacity for imagining global connectedness. Part 2 explores how novelists use a range of postmodern strategies to represent the various connections/dislocations made possible by global capital and how it problematize perceptions of human relationships across the world. Global capital is presented as a fluid dynamic that enables greater connectivity across the globe, but it also poses difficulties in one’s ability to realize a genuine cosmopolitanism against the all-incorporating power of the market. Chapter 4 deals with a variety of attempts in novels by William Gibson and Don DeLillo to cognitively map the relations of capital and consumer culture, and to make these complex global systems more intelligible to the reader. Chapter 5 discusses novels by David Mitchell and Rana Dasgupta that experiment with heterotopic, multi-layered narrative platforms to represent interconnecting but geographically separate ‘worlds’, and their ability to project cosmopolitan ideals across these textual horizons of space and time.
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Welstead, Adam. "Dystopia and the divided kingdom : twenty-first century British dystopian fiction and the politics of dissensus." Thesis, University of St Andrews, 2019. http://hdl.handle.net/10023/17104.

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This doctoral thesis examines the ways in which contemporary writers have adopted the critical dystopian mode in order to radically deconstruct the socio-political conditions that preclude equality, inclusion and collective political appearance in twenty-first century Britain. The thesis performs theoretically-informed close readings of contemporary novels from authors J.G. Ballard, Maggie Gee, Sarah Hall and Rupert Thomson in its analysis, and argues that the speculative visions of Kingdom Come (2006), The Flood (2004), The Carhullan Army (2007) and Divided Kingdom (2005) are engaged with a wave of contemporary dystopian writing in which the destructive and divisive forms of consensus that are to be found within Britain's contemporary socio-political moment are identified and challenged. The thesis proposes that, in their politically-engaged extrapolations, contemporary British writers are engaged with specifically dystopian expressions of dissensus. Reflecting key theoretical and political nuances found in Jacques Rancière's concept of 'dissensus', I argue that the novels illustrate dissensual interventions within the imagined political space of British societies in which inequalities, oppressions and exclusions are endemic - often proceeding to present modest, 'minor' utopian arguments for more equal, heterogeneous and democratic possibilities in the process. Contributing new, theoretically-inflected analysis of key speculative fictions from twenty-first century British writers, and locating their critiques within the literary, socio-political and theoretical contexts they are meaningfully engaged with, the thesis ultimately argues that in interrogating and reimagining the socio-political spaces of twenty-first century Britain, contemporary writers of dystopian fiction demonstrate literature working in its most dissensual, political and transformative mode.

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Jagodzinski, Mallory Diane. "Love is (Color) Blind: Historical Romance Fiction and Interracial Relationships in the Twenty-First Century." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1440101084.

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Books on the topic "Twenty-first century fiction"

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Adiseshiah, Siân, and Rupert Hildyard, eds. Twenty-First Century Fiction. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035189.

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Shaw, Kristian. Cosmopolitanism in Twenty-First Century Fiction. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52524-2.

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Parry, Catherine. Other Animals in Twenty-First Century Fiction. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55932-2.

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Christoph, Ribbat, ed. Twenty-first century fiction: Readings, essays, conversations. Heidelberg: Winter, 2005.

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Twenty-first-century gothic. Newcastle upon Tyne: Cambridge Scholars, 2010.

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Michael, Magali Cornier, ed. Twenty-First-Century British Fiction and the City. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-89728-8.

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Engelhardt, Nina, and Julia Hoydis, eds. Representations of Science in Twenty-First-Century Fiction. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19490-1.

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H, Giles Wanda, and Giles James Richard 1937-, eds. Twenty-first-century American novelists. Detroit: Gale, 2009.

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Giles, Wanda H. Twenty-first-century American novelists. Detroit: Gale Cengage Learning, 2009.

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O’Gorman, Daniel, and Robert Eaglestone, eds. The Routledge Companion to Twenty-First Century Literary Fiction. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge companions to literature series: Routledge, 2019. http://dx.doi.org/10.4324/9781315880235.

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Book chapters on the topic "Twenty-first century fiction"

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Adiseshiah, Siân, and Rupert Hildyard. "Introduction: What Happens Now." In Twenty-First Century Fiction, 1–14. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035189_1.

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Funk, Wolfgang. "Ghosts of Postmodernity: Spectral Epistemology and Haunting in Hilary Mantel’s Fludd and Beyond Black." In Twenty-First Century Fiction, 147–61. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035189_10.

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Perry, Lucy. "Intimations of Immortality: Sémiologies of Ageing and the Lineaments of Eternity in Contemporary Prose." In Twenty-First Century Fiction, 162–82. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035189_11.

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Roberts, Jude. "Crosshatching: Boundary Crossing in the Post-Millennial British Boom." In Twenty-First Century Fiction, 183–96. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035189_12.

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Robinson, Iain. "‘You just know when the world is about to break apart’: Utopia, Dystopia and New Global Uncertainties in Sarah Hall’s The Carhullan Army." In Twenty-First Century Fiction, 197–211. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035189_13.

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Niedlich, Florian. "Finding the Right Kind of Attention: Dystopia and Transcendence in John Burnside’s Glister." In Twenty-First Century Fiction, 212–23. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035189_14.

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Hodgson, Jennifer. "‘Such a Thing as Avant-Garde Has Ceased to Exist’: The Hidden Legacies of the British Experimental Novel." In Twenty-First Century Fiction, 15–33. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035189_2.

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Redpath, Phil. "Tough Shit Erich Auerbach: Contingency and Estrangement in David Peace’s Occupied City and Kate Summerscale’s The Suspicions of Mr Whicher." In Twenty-First Century Fiction, 34–48. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035189_3.

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Lockwood, Dean. "When the Two Sevens Clash: David Peace’s Nineteen Seventy-Seven as ‘Occult History’." In Twenty-First Century Fiction, 49–65. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035189_4.

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Bennett, Alice. "Remaindered Books: Glen Duncan’s Twenty-First Century Novels." In Twenty-First Century Fiction, 66–80. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137035189_5.

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