scholarly journals THEORETICAL ASPECTS OF STUDYING THE GENRE OF HISTORICAL NOVELS IN MODERN LITERARY CRITICISM

2021 ◽  
pp. 22-26
Author(s):  
S.B. Dautova ◽  
B.R. Ospanova
Keyword(s):  
Literary Criticism ◽  
Historical Novels

Parnicki a Rosja. Rekonesans

2021 ◽  
Vol 12 (2) ◽  
pp. 325-338
Author(s):  
Piotr Gorliński-Kucik
Keyword(s):  
Literary Criticism ◽  
Interwar Period ◽  
Cultural Policy ◽  
Historical Novels ◽  
Russian Culture ◽  
Current State ◽  
The Subject ◽  
State Of Research ◽  
Critical Project

The article considers issue of the connections between Teodor Parnicki, the Polish author of historical novels, and Russia. His attitude has its origins in biographical experiences. Knowledge of Russian culture is evident especially in the early work of Parnicki, and above all – in literary criticism of the interwar period. Careful reading shows that the sketches and reviews are a conservative critical project, the subject of which is Soviet social and cultural policy and communism in general. This article also complements the current state of research (who did not address this issue), while being a contribution to further research.

PETA KAJIAN ATAS NOVEL SEJARAH ISLAM KARYA JURJĪ ZAIDĀN

Jurnal CMES ◽  
2019 ◽  
Vol 12 (1) ◽  
pp. 4
Author(s):  
Moh. Wakhid Hidayat, Sangidu, Fadlil Munawwar Manshur, Taufiq Ahmad Dardiri
Keyword(s):  
Literary Criticism ◽  
Narrative Structure ◽  
Arabic Literature ◽  
Historical Novels ◽  
Islamic History ◽  
Arab Nationalism ◽  
The Public ◽  
Novel Studies ◽  
The 19Th Century ◽  
Modern Arabic

The novel of Islamic history by Jurjī Zaidān is one of the works of Modern Arabic literature which appeared at the end of the 19th century. Since it was first published, as a serial story in al-Hilal magazine, this novel has been read and has received a great response. Zaidān composed 22 titles of novels from 1891 to 1914. After Zaidān's death in 1914, his novels were still read by the public, reprinted, and even translated in various languages in the world. Zaidān’s Islamic historical novels still exist, both within the scope of modern Arabic literature and in Arabic thought, with many studies to date. Research on this novel is reviewed and analyzed to reveal the diversity of perspectives to be mapped. Found nine perspectives in the study of Islamic historical novels; the perspective of the development of Arabic novel genres, the perspective of authorship and pioneering in Arabic novel genre, the perspective of the popularization of Arab-Islamic history, critical perspectives of Islamic historical facts, intrinsic literary criticism perspective, narrative structure perspective, feminist perspective, perspective modern Arab identity, and Arab nationalism perspective. The mapping of studies become the positioning of further Islamic historical novel studies, and at the same time can be a model of study for the analysis of other historical novels that develop in Arabic literature or other national literature.

scholarly journals The Concept of “A Literary Hero” in English and Uzbek Historical Novels

2021 ◽  
Vol 58 (2) ◽  
pp. 1419-1426
Author(s):  
Umarova Makhliyo Yunusovna
Keyword(s):  
Comparative Analysis ◽  
Literary Criticism ◽  
Historical Novel ◽  
Historical Novels ◽  
Character Type ◽  
Image Type ◽  
Acting Person

The article is devoted to the study of comparative analysis of the concept of “literary hero” in English and Uzbek historical novels based on Walter Scott’s novel “Ivanhoe”and AbdullaKadiriy’s novel “Bygone Days”. Literary hero is often used the concepts “character”, ”personage”, ”image”, “type” and “acting person”. Sometimes they are differentiated: literary heroes are called characters, drawn more multifaceted and more significant for the work’s idea. The concept of “literary hero” refers only to actors close to the author’s ideal of a person (the so-called hero) or embodying a heroic principle (for example, heroes of epics, epics, and tragedies). However, it should be noted that literary criticism of these concepts, along with the concepts of "character", "type" and "image" are interchangeable. The novelty of the research is to clarify the history expressed in the first English historical novel “Ivanhoe” and first Uzbek historical novel “Bygone days” with the expressiveness of “a literary hero’ in them. There are some varieties in describing the literary heroes of different country writers. In our article, we gave some features of English and Uzbek writers in describing “literary hero”.

Réalisme and Kindred Words: Their Use as Terms of Literary Criticism in the First Half of the Nineteenth Century

PMLA ◽  
1938 ◽  
Vol 53 (3) ◽  
pp. 837-843 ◽  
Author(s):  
E. B. O. Borgerhoff
Keyword(s):  
Nineteenth Century ◽  
Literary Criticism ◽  
Gustave Flaubert ◽  
Historical Novels

In the Intermédiaire des chercheurs et des curieux for April 10, 1876 (ix, cols. 196, 197) we read the following query by “Comte de Noverba” under the heading Réalisme:Je croyais que ce mot était de création très-récente, et qu'il avait pris naissance lorsque parurent les premiers romans de MM. Champfleury et Gustave Flaubert. C'est là une erreur; je le trouve employé dans le sens que nous lui attribuons aujourd'hui, dès le 8 Décembre 1835 par M. F. T. C. en plein Charivari. A propos d'un roman de M. Lottin de Laval [a writer of historical novels] l'auteur dit: “Entre le Scylla du réalisme et le Charybde de l'idéalisme, il sera bien difficile à son Robert le Magnifique de glisser sans encombre.” Ce néologisme a-t-il été employé avant la date que je viens de citer?

Literature in Our Time, or, Loving Literature to Bits

CounterText ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 232-269 ◽  
Author(s):  
Ivan Callus
Keyword(s):  
Literary Criticism ◽  
Jacques Derrida ◽  
Anthony Trollope ◽  
Don Quixote ◽  
Time Machine ◽  
Paul Auster ◽  
Anne Michaels

In this essay Ivan Callus provides some reflections on literature in the present. He considers the tenability of the post-literary label and looks at works that might be posited as having some degree of countertextual affinity. The essay, while not setting itself up as a creative piece, deliberately structures itself unconventionally. It frames its argument within twenty-one sections that are self-contained but that also echo each other in their attempt to develop an overarching argument which draws out some of the challenges that lie before the countertextual and the post-literary. Punctuating the essay and contributing to its unconventional take on the practice of literary criticism is a series of exercises for the reader to complete, if so wished; the essay makes no attempt, however, to suggest that a countertextual criticism ought to make a routine of such devices. The separate sections contain reflections on a number of texts and writers, among them, and in order of appearance, Hamlet, Anthony Trollope, Jacques Derrida, The Time Machine, Don Quixote, Mark Z. Danielewski, Mark B. N. Hansen, Gunter Kress, Scott's Reliquiae Trotcosienses, W. B. Yeats, Kate Tempest, David Jones, Anne Michaels, Bernice Eisenstein, Paul Auster, J. M. Coetzee, Billy Collins, Deidre Shauna Lynch, Tim Parks, Tom McCarthy – and Hamlet again. The essay's length fulfils a performative function but also facilitates as extensive a catalogue of aspects of the countertextual in literature and elsewhere as is feasible or as might be dared at this stage.

From Deleuze and Guattari's Words to a Deleuzian Theory of Reading

2015 ◽  
Vol 9 (4) ◽  
pp. 529-557
Author(s):  
Daniel Haines
Keyword(s):  
Literary Criticism ◽  
Deleuze And Guattari ◽  
Transcendental Empiricism ◽  
Theory Of Reading ◽  
Open Question

While Deleuze and Guattari's passion for certain literature is well known, the nature of a ‘Deleuzian’ literary criticism remains an open question. However, most critics appear to agree that Deleuze and Guattari's comments on meaning and interpretation offer an ontological alternative to the textual focus of deconstruction. Through an interrogation of the difficult style of their books in relation to Plato, Nietzsche and Derrida, this paper offers a different reading of Deleuze and Guattari in relation to literary criticism. Despite appearances, transcendental empiricism and the project of ‘overturning Platonism’ provide a Deleuzian theory of reading that attends to textuality.

Un/Becoming Claude Cahun: Zigzagging in a Pack

2018 ◽  
Author(s):  
renée c. hoogland
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Gender Politics ◽  
High Modernism ◽  
Claude Cahun

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

Outlaws and Misfits: The Identities of Modernist Criticism

2019 ◽  
Vol 14 (3) ◽  
pp. 337-356
Author(s):  
Ben Knights
Keyword(s):  
Literary Criticism ◽  
Close Reading ◽  
Industrial Capitalism ◽  
Emotional Maturity ◽  
English Departments ◽  
Emotional Autonomy ◽  
And Gender ◽  
Implicit Identity ◽  
The University ◽  
Cultural Positioning

The images of the writer as exile and outlaw were central to modernism's cultural positioning. As the Scrutiny circle's ‘literary criticism’ became the dominant way of reading in the University English departments and then in the grammar-schools, it took over these outsider images as models for the apprentice-critic. English pedagogy offered students not only an approach to texts, but an implicit identity and affective stance, which combined alert resistance to the pervasive effects of mechanised society with a rhetoric of emotional ‘maturity’, belied by a chilly judgementalism and gender anxiety. In exchanges over the close reading of intransigent, difficult texts, criticism's seminars sought a stimulus to develop the emotional autonomy of its participants against the ‘stock response’ promulgated by industrial capitalism. But refusal to reflect on its own method meant such pedagogy remained unconscious of the imitative pressures that its own reading was placing on its participants.

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