The Discovery of a Story through Death ― Focus on Lee Chung-joon's Early Novel

2021 ◽  
Vol 29 (2) ◽  
pp. 255-286
Author(s):  
seon ae heo
Keyword(s):  
2020 ◽  
pp. 75-101
Author(s):  
A. N. Timofeev

A. Timofeev takes a close look at the works of A. Ivanov, from his early novel Dorm-on-the-Blood [Obshchaga-na-Krovi] (1992), both simplistic and bearing marks of apprenticeship, to Stormy Weather [Nenastie] (2015), the writer’s most popular book, along with The Geographer Drank His Globe Away [Geograf globus propil] (1995), all the better known thanks to their film versions. The critic finds that, rather than a gallery of accomplished works, Ivanov’s writing represents an agonizing search, his path characterized by alternating moments of success and failure and his ambitious preconceptions hindering his development and forcing his artistic intuition to overcome them. Speaking of Ivanov’s undeniable triumphs, A. Timofeev mentions The Heart of Parma [Serdtse Parmy] and the later novel Tobol, whereas Ivanov’s ‘transitional’ novel Bluda and MUDO [Bluda i MUDO], the ‘network’ duology Dog-Heads [Psoglavtsy] and Community [Kommiuniti], and even the cult novel Rebels’ Gold [Zoloto bunta] are presented as flops. Nonetheless, Timofeev rates Ivanov as one of the best writers of the 2000s–2010s.


2009 ◽  
Vol 42 (3) ◽  
pp. 443-450 ◽  
Author(s):  
S. J. Juengel
Keyword(s):  

2021 ◽  
Vol 3 (1) ◽  
pp. 37
Author(s):  
A'na Zhang

Joyce Carol Oates’ early novel art is represented by the tetralogy of Wonderland. As a representative writer of “psychological realism”, she dissolves the character consciousness with dialogue characteristics into time and space. Oates constructed a nostalgic time and homecoming space, which showing the cultural landscape of the 1960s’ in the United States.


Medicine ◽  
2021 ◽  
Vol 100 (24) ◽  
pp. e26279
Author(s):  
Suxia Bao ◽  
Hong-yi Pan ◽  
Wei Zheng ◽  
Qing-Qing Wu ◽  
Yi-Ning Dai ◽  
...  

2020 ◽  
pp. 104-146
Author(s):  
Patricia Pulham
Keyword(s):  

This chapter takes as its starting point the fact that Hawthorne’s novel, The Marble Faun; or The Romance of Monte Beni, was also published under the title Transformation (1860), thus suggesting a tension between animation and stasis that is implicitly explored in the text. It examines the connections between Hawthorne’s work and Henry James’s early novel Roderick Hudson (1875). Drawing on both writers’ relationships with circles of sculptors, artists, and writers in Rome, this chapter considers the mediation of desire between protagonists in The Marble Faun and Roderick Hudson through key sculptural figures and metaphors of touch that contribute to the recognition, and eventual burial, of unruly desires.


Author(s):  
Jobst Welge

AbstractThe employee as a typical figure of modernity has been represented as a specific type of literary anti-hero since the nineteenth century. Italo Svevo’s early novel, Una vita (1982, A Life), is an example that is strongly related to the theme of the anti-hero in the French novel of disillusion, as well as to the fin-de-siécle concern with an incapacitated, dilettante protagonist, unable to act and live. In light of Svevo’s own misgivings about the profession of writing fiction, the novel reflects on the relation between literature and life, by way of an uprooted individual who finds himself ill at ease in the anonymous, competitive world of modernity. The subject of Svevo’s novel, the arrival of a provincial, petit-bourgeois intellectual to a semi-provincial city, may also be found in a somewhat later Brazilian novel, O amanuense Belmiro (The amanuensis Belmiro, 1937) by Cyro dos Anjos. Aside from parallels of plot, social, and geographical setting, which are grounded in the experience of modernity in different contexts, the two novels may be said to model a new kind of author-function, as well as a specific form of a non-linear, self-reflexive novel.


Author(s):  
Cynthia Wall

Travel literature emerges in letters, diaries, journals, biographies, travel narratives, country house guides, ship’s logs, poems, plays—and the novel feeds on them all. From London as a source of topographical mystery to be penetrated even by its inhabitants, to the newly tourable country estates; from the recently domesticated wilds of Scotland and Ireland, to the paths of the Grand Tour in Europe; and from the exotic lands across the seas to life on the sea itself, the rhetorics of travel supplied hosts of models for narrative and imagery in the early novel. The novel every bit as much as travel-writing is an exercise in ethnographic observation, sharing an interest in closely observed and analysed detail, in the similarities and differences of other cultures, in the remarkableness of the ordinary and the sometimes surprising familiarity of the unknown, and with journey at the centre of both.


Sign in / Sign up

Export Citation Format

Share Document