Academic literature on the topic 'Writer-Critics'
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Journal articles on the topic "Writer-Critics"
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Alther, Lisa, Claire Sprague, Carey Kaplan, and Ellen Cronan Rose. "The Writer and Her Critics." Women's Review of Books 6, no. 1 (1988): 11. http://dx.doi.org/10.2307/4020312.
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Masykur, Hasan Basri, Halimi Zuhdy, Ifi Erwhintiana, and Muhammad Majed Al-Dakhiel. "NAQD AL-TAHDÎTS FÎ RIWÂYAH LAYÂLÎ TURKISTAN LI NAJIB AL-KAELANI BINÂ’ ‘ALÂ WIJHAH NADZHAR THEODOR WIESENGRUND ADORNO." Arabi : Journal of Arabic Studies 7, no. 1 (2022): 125–40. http://dx.doi.org/10.24865/ajas.v7i1.278.
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This study aimed to describe the patterns of modernization criticism, the factor emerging critics, and the impact of modernization in Layali Turkistan's novel according to Adorno's perspective. This study employed a descriptive qualitative approach methodology by obtaining the primary data from Layali Turkistan novel and gaining the secondary data from other references. The data were collected through reading and noting. Moreover, the writer employed triangulation to test the data validity. Meanwhile, Milles and Huberman's model was used to analyze the data. The writer revealed that: 1) The patterns of modernization critics in Layali Turkistan's novel are on modernization's behalf; in which Russian and Chinese have set aside their sense of humanity, such as tolerance and respect. 2) The emerging critics of modernization are religiosity, science, and technology development. 3) The impacts of modernization are humanity, morality, spiritual crisis, and natural resource ownership segregation.
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Rejmak, Barbara. "Note sulla prefazione autoriale alla Cognizione del dolore di Carlo Emilio Gadda." Acta Philologica, no. 59 (2022) (December 30, 2022): 85–94. http://dx.doi.org/10.7311/acta.59.2022.8.
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The present paper analyses the introduction to the novel La cognizione del dolore by Carlo Emilia Gadda, written in the form of a dialogue by its author and entitled L'Editore chiede venia del recupero chiamando in causa l'Autore. The introduction provides a comprehensive account of the main motifs of this novel and, at the same time, of Gadda’s work in general; its main point being a polemic against the objections of critics, who perceive the writer as “baroque” and grotesque, i.e. a writer who uses an overly complex style and narrative structure and represents reality in a distorted way. Drawing on recent critical studies as well as on research carried out on Gadda’s contemporary critics, the paper focuses on certain aspects of the text, such as its genesis, structure and its central motifs.
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Modina, Galina I. "History of Publishing of G. Flaubert’s Philosophical Drama “The Temptation of St. Anthony”." Bibliotekovedenie [Russian Journal of Library Science], no. 3 (May 25, 2009): 50–55. http://dx.doi.org/10.25281/0869-608x-2009-0-3-50-55.
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“The Temptation of St. Anthony” is a work of the French writer Gustave Flaubert that is not very known to French and Russian readers and the least analyzed by the critics. The article reveals the peculiar “birth” of this text, features of its content and value in the art world of the writer, deals with the history of publication of this book, which was called by Flaubert “The work of the whole life” in Russia.
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Ågerup, Karl. "Competing Images. The Posthumous Reception of Jean Genet." Moderna Språk 111, no. 2 (2017): 1–14. http://dx.doi.org/10.58221/mosp.v111i2.7729.
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Since the death of Jean Genet, his name and oeuvre have been the subject of heated debate. Influential critics have argued that Genet was an aristocratic anti-Semite, rather than a revolutionary poet who took sides with the outcasts. In this article, I analyze the positions, patterns, and strategies of this multifaceted debate, suggesting that provocation and marginalization constitute an integral part of Genet’s aesthetics. In the act of judging Genet from historical, political, and ethical perspectives, the critics operate as executors of his literary project, confirming the paratopic position the writer presumably desired.
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Alexandrova, Elmira K. "International scientific conference “Writer versus critic: Social roles, genre preferences, language”." Philological Sciences. Scientific Essays of Higher Education, no. 2 (March 2022): 153–58. http://dx.doi.org/10.20339/phs.2-22.153.
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A chronicle of the scientific conference IRLI (Pushkiskin House) of the Russian Academy of Sciences (October 6–7, 2021), dedicated to the relationship between writers and their critics, is presented. The conference reports raised a wide range of issues: the structure of the readership in the era of modernization; social roles of critic and author, genre preferences, language. The participants of the scientific discussion considered the problem of interaction between the writer and criticism, the problem of “criticism of criticism”, as well as its significance and role in the literary process of the early 20 century. The topic of competition between periodicals was discussed; repertoire of artistic means and media techniques of critics-feuilletonists. The role of the press in the formation of the reputations of contemporary writers, verbal and non-verbal ways of representation (interviews, photographs), various polemics, disputes in liberal, party, conservative publications, the creation of biographical myths are analyzed. A number of reports were devoted to the problem of interaction between modernist writers and newspapers. Separately, the question of the fate of the critics-feuilletonists during the period of the revolutionary redistribution and the end of the free press was brought up for discussion. A separate session was devoted to the figure of the critic A.A. Izmailov and his relationship with fellow critics and the authors themselves.
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Ramšak, Polona. "Ishiguro’s Japanese-English Identity and His Reception Internationally and in Slovenia." Acta Neophilologica 54, no. 1-2 (2021): 99–114. http://dx.doi.org/10.4312/an.54.1-2.99-114.
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Kazuo Ishiguro is a British author of Japanese descent who has established himself globally as an award-winning writer of bestselling books. This article deals with the hybridity of the author, who is both Japanese and English, a popular writer who stirs reader emotions but is at the same time respected by critics. The article begins by addressing the ‘Japaneseness’ in Ishiguro’s work that is both obvious and skilfully concealed. In the second part, the article examines the reception of Ishiguro’s work by Slovenian readers and discusses potential reasons for their seeming lack of response.
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Jastrzębska, Katarzyna. "Rosyjska i polska recepcja twórczości Romana Sienczina w latach 2001-2021." Acta Neophilologica 1, no. XXIV (2022): 163–80. http://dx.doi.org/10.31648/an.7436.
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This paper focuses on the Russian and Polish receptions of the works of Roman Senchin, a leading representative of the New Realism Trend in Russian literature. The writer’s debut was his collection of short stories entitled Athens Nights (Афинские ночи), published in 2000. Since then, Senchin has written many works, including The Yeltyshevs (Елтышевы), published in 2009 and translated into several languages. His works are widely commented on, discussed, analyzed, and interpreted not only by Russian literary scholars, critics, and commentators of Russian cultural life, but also by Polish researchers investigating contemporary Russian literature. The article presents the views of literary critics and literary scholars concerning Senchin’s works, as well as reflections on their typical or dominant features. Despite widely differing points of view, Russian literary critics agree that Roman Senchin is the most pessimistic contemporary Russian writer.
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Gurenkova, Julia V. "Perception of absurdistic texts of Achille Campanile in criticism." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2022): 164–70. http://dx.doi.org/10.20339/phs.5-22.164.
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The article presents an overview of the critical reception of the work of the Italian writer of the twentieth century Achille Campanile. The relevance of this study lies in the fact that it analyzes the work of a little-known Italian writer-comedian in Russia, which has not been sufficiently studied in Russian literary criticism and in foreign science. Officially, the works of Campanile are not classified as absurdism as a direction, however, according to some critics, this author should be considered not just a predecessor, but the founder of the theater of the absurd. Accordingly, the study of the poetics of A. Campanile’s comedies is necessary from the point of view of analyzing the genesis of absurdism in Western Europe. The purpose of the study is to comprehend the role and significance of the author’s heritage in the history of Italian and world literature. The main methodological basis of the study is a combination of biographical, historical-literary, historical-cultural and comparative research methods. The materials presented in the article allow us to conclude that in the work of A. Campanile, some critics identify common features with futurism, surrealism and absurdism. Researchers of Campanile’s work generally highly appreciate the talent of the writer, highlight the main techniques used by the author to create a comic effect, a feature of the style and language of the works.
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Francis, Conseula. "Reading and Theorizing James Baldwin: A Bibliographic Essay." James Baldwin Review 1, no. 1 (2015): 179–98. http://dx.doi.org/10.7227/jbr.1.11.
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Readers and critics alike, for the past sixty years, generally agree that Baldwin is a major African-American writer. What they do not agree on is why. Because of his artistic and intellectual complexity, Baldwin’s work resists easy categorization and Baldwin scholarship, consequently, spans the critical horizon. This essay provides an overview of the three major periods of Baldwin scholarship. 1963–73 is a period that begins with the publication of The Fire Next Time and sees Baldwin grace the cover of Time magazine. This period ends with Time declaring Baldwin too passé to publish an interview with him and with critics questioning his relevance. The second period, 1974–87, finds critics attempting to rehabilitate Baldwin’s reputation and work, especially as scholars begin to codify the African-American literary canon in anthologies and American universities. Finally, scholarship in the period after Baldwin’s death takes the opportunity to challenge common assumptions and silences surrounding Baldwin’s work. Armed with the methodologies of cultural studies and the critical insights of queer theory, critics set the stage for the current Baldwin renaissance.
Dissertations / Theses on the topic "Writer-Critics"
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Kensky, Eitan Lev. "Facing the Limits of Fiction: Self-Consciousness in Jewish American Literature." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10716.
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This thesis explores the limits of fictional language by studying the work of Jewish American writer-critics, novelists who significantly engaged with literary criticism, and critics who experimented with the novel or short fiction. These writer-critics all believed in Literature: they believed that literature could effect social change and educate the masses; or they believed in literature as an art-form, one that exposed the myths underlying American society, or that revealed something fundamental about the human condition. Yet it is because they believed so stridently in the concept of Literature that they turned to non-fiction. Writing fiction exposed problems that Literature could not resolve. They describe being haunted by “preoccupations” that they could not exhaust in fiction alone. They apologetically refer to their critical texts as “by-products” of their creative writing. Writer-critics were forced to decide what the limits of fiction were, and they adopted other types of writing to supplement these unexpected gaps in fiction's power. This dissertation contains four chapters and an introduction. The introduction establishes the methodological difficulties in writing about author-critics, and introduces a set of principles to guide the study. Chapter 1 approaches Abraham Cahan's The Rise of David Levinsky (1917). I argue that many of the novel's difficulties result from Cahan's desire to present the way that ideology shades our understanding of reality while minimizing direct narratorial intrusions. Chapter 2 studies how politics affected the work of Mike Gold, Moishe Nadir, and Isaac Bashevis Singer. In all three writers, literature emerges as a kind of ersatz-politics, a space for the dispossessed to imagine the political. In the end, the political novel only reinforces the fictionality. Chapter 3 is a study of Leslie Fiedler's problematic novel, The Second Stone. While critics have seen the novel as a kind of game, I propose reading the novel as an earnest expression of Fiedler's vision of literature as a conversation. Chapter 4 turns to Cynthia Ozick and Susan Sontag. A cumulative reading of their fiction and criticism shows the deep twinning of their fiction and critical thought. For both writers true knowledge comes only through the imagination.<br>Near Eastern Languages and Civilizations
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Goulart, Clarice de Mattos. "A quem cabe a última palavra? O lugar social do escritor e do crítico em Rubens Figueiredo." Niterói, 2017. https://app.uff.br/riuff/handle/1/3605.
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Dissertação - Clarice Goulart - final.pdf: 681792 bytes, checksum: c405eb14f771b9a868e3146d5b87c11a (MD5)<br>Fundação Carlos Chagas Filho de Amparo à Pesquisa do Estado do Rio de Janeiro<br>Este trabalho tem o objetivo de analisar a representação do escritor e do crítico de arte
tematizada por Rubens Figueiredo nos contos “A última palavra” (Contos de Pedro, 2006) e
“Os biógrafos de Albernaz” (O livro dos lobos, 1994, 1ª ed.), bem como no romance Barco a
seco (2001). Ao apresentar a trajetória desses personagens e sua relação com as diversas esferas
de consagração do campo literário ou artístico, as narrativas possibilitam uma rica discussão
sobre a inserção e a manutenção do escritor no mercado editorial brasileiro contemporâneo, na
medida em que o reconhecimento desses personagens passa pela chancela do editor e da crítica.
A partir dessa investigação, é possível ampliar a discussão para temas como autoridade do
escritor e distinção social. Além disso, uma vez que a atividade profissional dos personagens
analisados está ligada a um sistema de visibilidade e de garantia de privilégios, desenvolve-se
uma discussão sobre a ética do escritor, sobre sistemas de valoração, e, também, sobre o lugar
social não só do crítico, do escritor e do editor, mas do livro e do leitor – sobretudo no que se
refere ao valor do livro. A orientação teórica deste trabalho articula-se com as ideias
apresentadas por Eneida Maria de Souza, Néstor Garcia Canclini, Pierre Bourdieu, Regina
Dalcastagnè e Beatriz Sarlo<br>This work aims to analyse the representation of writers and the art critic presented by Rubens
Figueiredo in the short stories “A última palavra” (Contos de Pedro, 2006), and “Os biógrafos
de Albernaz” (O livro dos lobos, 1994, 1ª ed.), as well as in the novel Barco a seco (2001).
Presenting characters in their relation with the possibilities of consecration in the literary field,
the three narratives provide varied themes of discussion concerning contemporary insertion and
maintenance of writers into Brazilian literary field, considering the fact that their appreciation
is directly connected to editors’ and critics’ approval. The examination includes a wide
discussion about writers’ authority and social distinction. Furthermore, regarding the characters
professional activities and their association with a system which guarantees visibility and
privileges, this work develops a discussion about ethics, value systems, and, also, about the
place which critics and writers, readers and, mainly, books, occupy in Brazilian contemporary
society. This work’s theoretical orientation articulated with ideas presented by Eneida Maria de
Souza, Néstor Garcia Canclini, Pierre Bourdieu, Regina Dalcastagnè, and Beatriz Sarlo
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Lorandini, Francesca. "Au-delà du formalisme : la critique des écrivains en France et en Italie pendant la seconde moitié du XXe siècle." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100044.
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Ce travail arpente le domaine de ce qu’Albert Thibaudet nommait « la critique des artistes » pour montrer que, au cours de la seconde moitié du XXe siècle, ce genre de critique a constitué un véritable laboratoire permettant de sortir des impasses auxquelles avait conduit la vision autotélique de l’œuvre proposée par la critique formaliste et par la néo-avant-garde. Dans la première partie de l’étude on s’interroge sur l’évolution de la critique formaliste, en envisageant le tournant linguistique des années 1960 comme l’aboutissement naturel d’une révolution culturelle qui a eu lieu à la fin du XIXe siècle. En menant une analyse comparée entre la France et l’Italie, on observe les deux critiques formalistes en-dehors de leur rapport de filiation, et on brosse un modèle transnational qui montre qu’elles partagent la même conception de la littérature postulée par la néo-avant-garde. La deuxième partie du travail est consacrée à l’analyse d’une tendance relevable dans la critique des écrivains à partir de l’après-guerre, où une étude purement intrinsèque de l’œuvre d’art est mise en discussion. On propose une analyse comparée de la critique littéraire de Georges Perec, Michel Tournier, Philippe Muray, Tommaso Landolfi, Pier Paolo Pasolini et Pier Vittorio Tondelli, afin de souligner que leur pratique critique ne s’est pas limitée à une déclaration personnelle de poétique, mais elle a ouvert une voie alternative à l’exaspération des positions théoriques formalistes, en anticipant ou en prônant le dépassement d’une vision autoréférentielle de l’œuvre qui a caractérisé la littérature de la fin du XXe siècle aussi bien en France qu’en Italie<br>My dissertation covers the field of what Albert Thibaudet called “the critique of artists” in order to show that, throughout the second half of the twentieth century, this form of criticism has given readers a different perspective on literature in comparison to that of the formalists and the neo-avant-garde. In the first part of my study, I examine the evolution of formalist criticism in the twentieth century, considering the linguistic turn of the 1960s as the natural outcome of a cultural revolution which took place at the end of the nineteenth century. By conducting a comparative study between France and Italy, I attempt to outline a transnational model which shows that the two formalist critiques share the same understanding of the literature postulated by the neo-avant-garde. The second part of my thesis is devoted to the study of one of the main tendencies in the critique of the writers since the Second World War, a tendency that called into question a purely intrinsic study of the work of art. Here, I propose a comparative study of the literary critique of Georges Perec, Michel Tournier, Philippe Muray, Tommaso Landolfi, Pier Paolo Pasolini and Pier Vittorio Tondelli, in order to underline that their critical practice has not limited itself to a personal declaration of their poetic views, but it has truly opened up an alternative approach to formalist theoretical positions. They refused to speak of literature as a secluded world, and by doing so they anticipated one of the most important features of the literature of the end of the twentieth century, both in France and in Italy
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Lorandini, Francesca. "Au-delà du formalisme. La critique des écrivains en France et en Italie pendant la seconde moitié du XXe siècle." Doctoral thesis, Università degli studi di Trento, 2014. https://hdl.handle.net/11572/367942.
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My dissertation covers the field of what Albert Thibaudet called “the critique of artists†in order to show that, throughout the second half of the twentieth century, this form of criticism has given readers a different perspective on literature in comparison to that of the formalists and the neo-avant-garde. In the first part of my study, I examine the evolution of formalist criticism in the twentieth century, considering the linguistic turn of the 1960s as the natural outcome of a cultural revolution which took place at the end of the nineteenth century. By conducting a comparative study between France and Italy, I attempt to outline a transnational model which shows that the two formalist critiques share the same understanding of the literature postulated by the neo-avant-garde. The second part of my thesis is devoted to the study of one of the main tendencies in the critique of the writers since the Second World War, a tendency that called into question a purely intrinsic study of the work of art. Here, I propose a comparative study of the literary critique of Georges Perec, Michel Tournier, Philippe Muray, Tommaso Landolfi, Pier Paolo Pasolini and Pier Vittorio Tondelli, in order to underline that their critical practice has not limited itself to a personal declaration of their poetic views, but it has truly opened up an alternative approach to formalist theoretical positions. They refused to speak of literature as a secluded world, and by doing so they anticipated one of the most important features of the literature of the end of the twentieth century, both in France and in Italy.
Books on the topic "Writer-Critics"
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K, Stead C. Book self: The reader as writer and the writer as critic. Auckland University Press, 2008.
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Auchterlonie, Dorothy. The writer, the reader and the critic in a monoculture. Foundation for Australian Literary Studies, James Cook University of North Queensland, 1986.
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Uhlmann, Anthony, ed. Gerald Murnane. Sydney University Press, 2020. http://dx.doi.org/10.30722/sup.9781743326404.
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Gerald Murnane is one of Australia’s most important contemporary authors, but for years was neglected by critics. In 2018 the New York Times described him as “the greatest living English-language writer most people have never heard of” and tipped him as a future Nobel Prize winner. Gerald Murnane: Another World in This One coincides with a renewed interest in his work. It includes an important new essay by Murnane himself, alongside chapters by established and emerging literary critics from Australia and internationally. Together they provide a stimulating reassessment of Murnane’s diverse body of work.
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West, John. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816409.003.0001.
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The introduction outlines how enthusiasm has been neglected in Dryden criticism. There is a persistent view of Dryden as an ‘Augustan’ or ‘neo-classical’ writer preoccupied by reason and order in art and politics. The introduction situates the book in a critical counter-tradition that sees him as more interested in instability, disorder, and the otherworldly. Yet the critics who have seen Dryden in this way are often uninterested in the implications such literary characteristics have on our understanding of Dryden as a political writer. Ideas of what constitutes royalist, republican, or Whig poetics have not adequately considered what happens when a supposedly conservative writer like Dryden theorizes or practices a style more commonly linked with contemporaries of opposed political and religious views. The introduction sets out what enthusiasm meant to Dryden and the ways he navigated the dangerous connotations of divine inspiration in the Restoration.
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Book Self: The Reader as Writer and the Writer as Critic. Auckland University Press, 2008.
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Goodman, Susan, and Carl Dawson. William Dean Howells: A Writer S Life. University of California Press, 2005.
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Bodroghkozy, Aniko. Is This What You Mean by Color TV? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036682.003.0008.
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This chapter examines how entertainment television addressed color-blind equality through an analysis of NBC's Julia, considered the most significant entertainment show of the civil rights years. Created by writer-director Hal Kanter and starring Diahann Carroll, Julia presented viewers with whites only as supporting characters. However, the image Julia provided could only clash uncomfortably with dominant news imagery of exploding ghettos, Black Panthers and other non-nonviolent militants, as well as the generalized chaos and upheaval characterizing the period. This chapter argues that Julia was a fictional vision of the “black and white together” utopia promised in the networks' March on Washington coverage. It also considers how black and white audiences as well as mainstream press critics all made sense of the show in notably different and, at times, contradictory ways. Finally, it discusses the concerns of black viewers and some white critics about Julia, including its depiction of the black family.
Book chapters on the topic "Writer-Critics"
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McKay, Claude. "A Negro Writer to His Critics (1932)." In The New Negro. Princeton University Press, 2008. http://dx.doi.org/10.1515/9781400827879-073.
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McKAY, CLAUDE. "A Negro Writer to His Critics (1932)." In The New Negro. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv1j6675s.75.
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"The Writer Seeking Vengeance: Blognovelism and Its Relationship with Literary Critics." In Best Served Cold: Studies on Revenge. BRILL, 2010. http://dx.doi.org/10.1163/9781848880436_015.
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Polonsky, Vadim V. "Dostoevsky through Western Optics: the Case of Knut Hamsun and not only." In F.M. Dostoevsky in Literary and Archival Sources of the Late 19th — the First Third of the 20th Century. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0662-8-195-209.
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The article dwells on the main postulates on Dostoevsky at the meeting point for Russian and Western types of reception of his figure, as they were manifested during a discussion devoted to the writer in the Parisian Franco-Russian Studio in December 1929. Against this background, a specific and typologically indicative case of his deep impact on a European writer — Knut Hamsun whom critics could call “the Norwegian Dostoevsky” — is examined. The author analyzes typical cases of adaptation of the techniques of the Russian writer by this Scandinavian novelist, as well as an assessment of his work by the creator of “Hunger” and “Mysteries”.
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Bax, Sander. "‘The Most Successful Writer of the Netherlands’." In Branding Books Across the Ages. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723916_ch09.
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Since the success of his bestseller novel The Dinner in 2009, Dutch literary writer Herman Koch has been branded as ‘the most successful writer of the Netherlands’. In his media coverage, we encounter a narrative about his career that has all the characteristics of the ‘success myth’ of the contemporary celebrity. What can the construction of Koch’s success myth tell us about the norms that actors and institutions of the public media use when they talk about literature? How do Koch and his critics deal with the tension between different ways of contributing value in the literary field? And does Pierre Bourdieu’s conceptualization of the ‘economic world reversed’ still suffice to describe the distribution of capital in today’s literary fields?
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Hoefle, Arnhilt Johanna. "The Antibourgeois Bourgeois Writer." In China's Stefan Zweig. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824872083.003.0004.
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Despite the author’s bourgeois class background and the subject matter of his writings, Stefan Zweig’s novellas were among the very few foreign-language works that were still published under Mao Zedong’s strict communist rule. Analyzing the rhetoric of the academic articles and commentaries published with the translations, this chapter traces the trajectories of Chinese perspectives on Stefan Zweig’s works after the founding of the People’s Republic in 1949 and until the 2000s. Declaring Zweig’s novellas to be socio-critical literature, Chinese critics had developed a strategy during the Hundred Flowers Campaign of 1956 to make the writer acceptable to his communist censors. According to their interpretation, Zweig’s works fiercely attack the moral decay, emptiness, hypocrisy and brutality of bourgeois society in which women, in particular, suffer. Even after the Mao era came to an end, this way of reading Zweig’s novellas has persisted. Comparing European and North American narratives on Zweig that construct him as an “apolitical” and “nostalgic” writer, the Chinese reception in fact reveals an important socio-critical impetus, especially of the “women novellas,” that has been ignored in Western academia so far.
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Ailwood, Sarah. "Katherine Mansfield, Nettie Palmer and Critical Influence." In Katherine Mansfield and Literary Influence. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694419.003.0012.
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This chapter traces the lodestar role that Katherine Mansfield played for the Australian literary critic Nettie Palmer. Palmer’s literary archive reveals her enchantment with Mansfield as a reader, writer and literary journalist, highlighting the impact of Mansfield’s posthumously published personal writing on her. Mansfield’s presence in Palmer’s archive exposes a thread of literary influence between literary critics and, through Palmer, to an even wider network of literary correspondents. In Palmer’s reviews, letters and notebooks Mansfield alters, chameleon-like, to fit her purpose: the successful colonial writer in exile, the mourned absent contemporary and the incisive literary critic who prompts Palmer to reflect on her own professional writing.
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Lee, Anthony W. "Introduction: Modernity Johnson?" In Samuel Johnson Among the Modernists. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954668.003.0001.
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The traditional view of Samuel Johnson has been that of a quaintly nostalgic figure redolent of days long past, or that of a narrowly bigoted High Anglican Tory, insular and xenophobic, resistant to innovation and experimentation. Many mid-twentieth-century scholars and critics worked indefatigably to undermine the simplicity of the stereotype; in the process, they have enriched our understanding of this complex human being and inexhaustibly fecund writer....
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Rubin, Andrew N. "Transnational Literary Spaces at War." In Archives of Authority. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691154152.003.0004.
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This chapter explores the new rhythms of movement in which the relationship between national identity and humanistic practice was renegotiated. It first describes how the United States and Britain asserted their domination by reterritorializing the entire geography of postcolonial space. From here, the chapter looks at how technology has enabled magazines to not only reproduce but “synchronically” replicate their content. Moreover, the chapter examines the relationship between the writer and public during the postcolonial era, which underwent further transformations that would decisively expand and constrain cultural space. Finally, the chapter looks at how critics, novelists, and poets were recruited, mobilized, and exported in a historically decisive way that altered the situation of the transnational postwar writer and their public, as well as the effects thereof.
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Pavelieva, Yulia Е. "Literary Critics of ‛Grani’ on the Works of Ivan Bunin." In I.A. Bunin and his time: Context of Life — History of Work. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/ab-978-5-9208-0675-8-357-364.
Full textAbstract:
“Grani” is one of the most famous magazines of Russian abroad. This publication was intended as a large literary magazine. Literary criticism is an essential section of such editions. Writers and poets of the Russian abroad were the authors of the section of literary criticism in the magazine “Grani”. Leonid Rzhevsky, Boris Narcissov, Alexander Nejmiroc were the authors of very interesting articles on the of Bunin’s creativity. These authors were real “artists of the word”, they had a special creative sensitivity. Such quality allows the critic to discern the creative features of another writer or poet. It is not accidental that literary critics of “Grani” were able to see specific features in Bunin’s talent. They explored the issues that would be a matter of concern for the literary critics many decades later. The authors of the “Grani” magazine wrote literary and critical articles in the middle of the 20th century. They addressed the problems that are relevant up to our days.
Conference papers on the topic "Writer-Critics"
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Matveeva, I. I. "Two Yushki: Andrey Platonov in search of a positive hero." In SCIENCE OF RUSSIA: GOALS AND OBJECTIVES. L-Journal, 2020. http://dx.doi.org/10.18411/sr-10-12-2020-22.
Full textAbstract:
The article describes the semantic, autobiographical, historical and literary contexts of one unusual name, which is discovered several times in the creative works of Andrei Platonov of different periods. The author of the article examines the etymology of the name Yushka, analyzes the stories “Yushka”, “At the Dawn of Hazy Youth”, Platonov's correspondence, plunges into the historical and literary situation of the 1930s – 1940s, connects it with the idea of the analyzed works. Contradictory to the widespread belief that the story "Yushka" was Platonov's response to A. Gurvich's article, the author believes that Platonov answered many critics with this story. In the stories, which, according to the author, constitute a dilogy Platonov presented the ideal hero of the era and an example of the attitude of criticism to the writer and man.