The Strange Relationship of Stavrogin and Stepan Trofimovich as Told by Anton Lavrent'evich G-v

Slavic Review ◽  
2000 ◽  
Vol 59 (4) ◽  
pp. 782-801
Author(s):  
Craig Cravens
Keyword(s):  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Two Dimensional ◽  
History Of The Novel ◽  
Life Problems ◽  
Single Character ◽  
History Of ◽  
Relationship Of

The first-person narrative form is notoriously problematic. Throughout the history of the novel, it has both repelled authors due to the obvious limitations imposed by its restriction to a single consciousness and attracted them because of the apparent veracity it imparts to psychological portrayal. In the most conscientiously constructed examples of the type, the first-person narrator is able to portray directly the thoughts of a single character only, that is, himself. Of other characters, he can only report actions and surmise motives, and these characters to whom the reader does not have cognitive privilege may appear to be two-dimensional or even come off as caricatures.Fedor Dostoevskii's Besy (Demons, 1871-72) is a first-person memoir novel. My thesis is that the novel's narrative form itself involves the reader psychologically and morally in problems that occupied Dostoevskii throughout his life—problems of freedom, contingency, and eternity.

scholarly journals Narrar e ser: a pessoalidade do narrador de Eu receberia as piores notícias de seus lindos lábios / Narrating and Being: The Us Narrator’s Personality Eu receberia as piores notícias de seus lindos lábios

2021 ◽  
Vol 30 (1) ◽  
pp. 170
Author(s):  
Netanias Mateus De Souza Castro
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Novel ◽  
Safe Distance ◽  
History Of The Novel ◽  
The Third ◽  
The Us ◽  
Third Person ◽  
History Of ◽  
The Third Person

Resumo: A história do romance viu, diante de si, formas diversas de narrar, conforme aponta os escritos de Theodor W. Adorno, por exemplo. Desde narradores impessoais, mantendo a distância segura que lhe confere a narrativa em terceira pessoa até os casos em que o que se narra é algo diretamente relacionado ao próprio narrador. Esse parece ser o caso do romance de Marçal Aquino, Eu receberia as piores notícias de seus lindos lábios, que conta o envolvimento amoroso de Cauby e Lavínia a partir do olhar do próprio Cauby. Esse narra de um modo cuja relação de si mesmo com a narrativa fica explícita, tamanha é sua passionalidade em relação às suas vivências e ao ato de narrar. Isso se manifesta tanto na linguagem, em termos de escolhas narrativas, quanto nas ações do narrador-personagem-protagonista que narra e vive aquilo que narra. Suas características mais notáveis são a passionalidade, a capacidade de registrar fotograficamente detalhes da narrativa e o rompimento com técnicas narrativas tradicionais.Palavras-chave: narrador; primeira pessoa; romance brasileiro contemporâneo; Eu receberia as piores notícias de seus lindos lábios.Abstract: The history of the novel saw, before it, different ways of narrating, as pointed out by the writings of Theodor W. Adorno, for example. From impersonal narrators, maintaining the safe distance that the third person narrative gives him until the cases in which what is narrated is something directly related to the narrator himself. This seems to be the case with Marçal Aquino’s novel I would receive the worst news from his beautiful lips, which tells of Cauby and Lavínia’s loving involvement from the point of view of Cauby himself. He narrates in a way whose relationship with himself and the narrative is explicit, such is his passion for his experiences and the act of narrating. This manifests itself both in language, in terms of narrative choices, and in the actions of the narrator-character-protagonist who narrates and experiences what he narrates. Its most notable characteristics are passionality, the ability to photographically record details of the narrative and break with traditional narrative techniques.Keywords: narrator; first person; contemporary Brazilian romance; Eu receberia as piores notícias de seus lindos lábios.

Reading Statelessness

2018 ◽  
Author(s):  
Lyndsey Stonebridge
Keyword(s):  
Human Rights ◽  
Political Theory ◽  
The Novel ◽  
History Of The Novel ◽  
Political Sovereignty ◽  
History Of

Hannah Arendt’s analysis of the failure of human rights to address statelessness is well known. Less commented upon is how important literature was to her thought. This chapter shows how Arendt’s 1940s essays on Kafka connect the history of the novel to shifting definitions of legal and political sovereignty. Arendt reads The Castle as a blueprint for a political theory that is also a theory of fiction: in the novel K, the unwanted stranger, demolishes the fiction of the rights of man, and with it, the fantasy of assimilation. In a parallel move, Kafka also refuses to assimilate his character into the conventions of fiction. Arendt’s reading changes the terms for how we might approach the literature of exile and of human rights.

The Oxford History of the Novel in English

2018 ◽  
Keyword(s):  
World War Ii ◽  
English Language ◽  
Book History ◽  
World Order ◽  
The United States ◽  
The Novel ◽  
History Of The Novel ◽  
Post Colonial ◽  
The World ◽  
History Of

Volume Nine of this series traces the development of the ‘world novel’, that is, English-language novels written throughout the world, beyond Britain, Ireland, and the United States. Focusing on the period up to 1950, the volume contains survey chapters and chapters on major writers, as well as chapters on book history, publishing, and the critical contexts of the work discussed. The text covers periods from renaissance literary imaginings of exotic parts of the world like Oceania, through fiction embodying the ideology and conventions of empire, to the emergence of settler nationalist and Indigenous movements and, finally, the assimilations of modernism at the beginnings of the post-imperial world order. The book, then, contains chapters on the development of the non-metropolitan novel throughout the British world from the eighteenth to the mid twentieth centuries. This is the period of empire and resistance to empire, of settler confidence giving way to doubt, and of the rise of indigenous and post-colonial nationalisms that would shape the world after World War II.

Police Records

2019 ◽  
pp. 797-819
Author(s):  
Cristina Vatulescu
Keyword(s):  
Nineteenth Century ◽  
Detective Fiction ◽  
Media History ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Police Records ◽  
History Of ◽  
Late Nineteenth ◽  
Relationship Of ◽  
The Relationship

This chapter approaches police records as a genre that gains from being considered in its relationships with other genres of writing. In particular, we will follow its long-standing relationship to detective fiction, the novel, and biography. Going further, the chapter emphasizes the intermedia character of police records not just in our time but also throughout their existence, indeed from their very origins. This approach opens to a more inclusive media history of police files. We will start with an analysis of the seminal late nineteenth-century French manuals prescribing the writing of a police file, the famous Bertillon-method manuals. We will then track their influence following their adoption nationally and internationally, with particular attention to the politics of their adoption in the colonies. We will also touch briefly on the relationship of early policing to other disciplines, such as anthropology and statistics, before moving to a closer look at its intersections with photography and literature.

scholarly journals Insights into the metabolism, lifestyle and putative evolutionary history of the novel archaeal phylum ‘Diapherotrites’

2014 ◽  
Vol 9 (2) ◽  
pp. 447-460 ◽  
Author(s):  
Noha H Youssef ◽  
Christian Rinke ◽  
Ramunas Stepanauskas ◽  
Ibrahim Farag ◽  
Tanja Woyke ◽  
...  
Keyword(s):  
Evolutionary History ◽  
The Novel ◽  
History Of The Novel ◽  
History Of

Oil, Water, World, Wax, Mind: Jean Rolin’s Ormuz

2021 ◽  
Vol 73 (2) ◽  
pp. 225-236
Author(s):  
Thangam Ravindranathan
Keyword(s):  
Arabian Peninsula ◽  
World Order ◽  
The Novel ◽  
History Of The Novel ◽  
Amitav Ghosh ◽  
Modern Novel ◽  
History Of ◽  
Oil Water ◽  
Night And Day ◽  
Oil Tankers

Abstract This essay considers the unworldly setting of Jean Rolin’s novel Ormuz (2013), composed around the attempt by a shadowy character named Wax to swim across the Strait of Hormuz. This twenty-one-nautical-mile-wide stretch of sea separating Iran from the Arabian Peninsula, through which is shipped 35 percent of the world’s petroleum, is a waterway of the utmost geopolitical importance, its harbors built not for dreamy swimmers but for giant oil tankers and the elaborate maritime-military infrastructure assuring their passage. Such a setting would seem to stand as a bleak other to the novel as genre. Yet if one thinks of the history of the novel as inseparable from that of carbon capitalism (as Amitav Ghosh has argued), such a claim is reversed—this site where powerful strategic interests drive the flow of oil, capital, and power is the place of the continual making and unmaking, by night and day, of the world order, and thereby of the modern novel. The essay reflects on what Wax’s weird wager—as an emblem for a remarkable narrative wager—may owe to such intertexts as Google, Descartes’s Meditations, and Jules Verne’s Tour du monde, and argues for reading Ormuz as an ecological novel for our times.

Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

The Diaspora of the Novel

1992 ◽  
Vol 2 (1) ◽  
pp. 131-146
Author(s):  
Artemis Leontis
Keyword(s):  
Uneven Development ◽  
Literary Genre ◽  
The Novel ◽  
History Of The Novel ◽  
The West ◽  
The Past ◽  
The Social ◽  
Economic Transformations ◽  
History Of ◽  
New Type

Reflection on the history of the novel usually begins with consideration of the social, political, and economic transformations within society that favored the “rise” of a new type of narrative. This remains true even with the numerous and important studies appearing during the past ten years, which relate the novel to an everbroadening spectrum of ideological issues—gender, class, race, and, most recently, nationalism. Yet a history of the genre might reflect not just on the novel’s national, but also its transnational, trajectory, its spread across the globe, away from its original points of emergence. Such a history would take into account the expansion of western markets—the growing exportation of goods and ideas, as well as of social, political, and cultural forms from the West—that promoted the novel’s importation by nonwestern societies. Furthermore, it could lead one to examine the very interesting inverse relationship between two kinds of migration, both of which are tied to the First World’s uneven “development” of the Third. In a world system that draws out natural resources in exchange for technologically mediated goods, the emigration of laborers and intellectuals from peripheral societies to the centers of power of the West and the immigration of a western literary genre into these same societies must be viewed as related phenomena.

scholarly journals Romanhistorie og topik: Kvinde-vogn-mand

2007 ◽  
Vol 35 (103) ◽  
pp. 138-153
Author(s):  
Carsten Henrik Meiner
Keyword(s):  
Fixed Points ◽  
17Th Century ◽  
The Novel ◽  
History Of The Novel ◽  
Historical Material ◽  
History Of

History of the novel and topica: Woman-carriage-manThe aim of the article is to analyse the function of the carriage in the European novel in the 17th and 18th centuries. The article is divided into three parts: the first one describes the historical, material, juridical and sociological conditions determining the carriage in the 17th century as a bourgeois object. The second part analyses the specific literary function of the carriage. Whereas »normal« carriages have the function of transferring people between two geographically fixed points, the function of the literary carriage is that of making this very transfer break down accidentally. In a very homogenous way passages from Furetière, Marivaux, Defoe, Diderot and Goethe all demonstrate the functioning of such a chance principle. As these passages also have the conventional function of bringing a couple together in the carriage, a new idea of love as a fundamentally contingent category is in fact the cultural offspring of these chance encounters in carriages.

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