Clarence Major's Innovative Fiction

The article examines the expression of subjectlessness in « Solitary Thoughts» by V.V. Rozanov, a work of an innovative language and genre form. The genre peculiarities of the work determine a significant number of one-part sentences that are used by the writer in the traditional language function. At the same time, the author's style is most characterized by the combination of different types of these sentences in one paragraph. A very important function of these structures in the text is the stylistic function. The reception of anaphora is based on one-part sentences; expressive antonymy in their structure; on the basis of these constructions, a rhetorical question and a language game are built; an original and unexpected metaphor; examples of the author's word creation are also noted on the basis of one-part structures. This type of sentences is also used to create an ironic effect. The methods of using one-piece structures reflect the uniqueness and originality of the artistic world of V.V. Rozanov. Subjectlessness acts as a means of expressing the intimate author's principle, deep personal experience, which has a mystical, metaphysical nature of «truly Russian, Russian element». On the basis of the explication of the leading compositional-speech dominants and the specifics of their linguistic embodiment at the syntactic level of the language, innovative fiction is represented in the work. This allows us to consider the work of V.V. Rozanov as a high example, which reflected the richest intellectual and emotional world of the author himself.

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American Innovative Fiction

Contemporary Literature ◽

10.2307/1208431 ◽

1989 ◽

Vol 30 (1) ◽

pp. 151

Author(s):

Marek Wilczynski ◽

Jerzy Kutnik

Keyword(s):

Innovative Fiction

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PRAGMATIC UTOPIANISM AND RACE: H. G. WELLS AS SOCIAL SCIENTIST

Modern Intellectual History ◽

10.1017/s1479244317000555 ◽

2017 ◽

Vol 16 (3) ◽

pp. 863-895 ◽

Cited By ~ 2

Author(s):

DUNCAN BELL

Keyword(s):

Twentieth Century ◽

Social Science ◽

Social Scientist ◽

Social Scientists ◽

World State ◽

Significant Contributor ◽

The World ◽

Innovative Fiction ◽

Large Audience ◽

Philosophical Pragmatism

H. G. Wells was one of the most celebrated writers in the world during the first half of the twentieth century. Famed for his innovative fiction, he was also an influential advocate of socialism and the world-state. What is much less well known is that he was a significant contributor to debates about the nature of social science. This article argues that Wells's account of social science in general, and sociology in particular, was shaped by an idiosyncratic philosophical pragmatism. In order to demonstrate how his philosophical arguments inflected his social thought, it explores his attack on prevailing theories of race, while also highlighting the limits of his analysis. The article concludes by tracing the reception of Wells's ideas among social scientists and political thinkers on both sides of the Atlantic. Although his program for utopian sociology attracted few disciples, his arguments about the dynamics of modern societies found a large audience.

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Innovative Fiction and the Novel

The Creative Writing Handbook ◽

10.1007/978-1-349-90813-4_6 ◽

2000 ◽

pp. 129-163

Author(s):

Elizabeth Baines

Keyword(s):

The Novel ◽

Innovative Fiction

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“Coloured Images” in the “Black Dark”: Samuel Beckett's Later Fiction

PMLA ◽

10.2307/461946 ◽

1977 ◽

Vol 92 (2) ◽

pp. 273-284

Author(s):

Laura Barge

Keyword(s):

Self Perception ◽

Outer World ◽

Thematic Unity ◽

Innovative Fiction ◽

The Mind

Although much comment on Beckett’s prose from How It Is (1961) through The Lost Ones (1970) has appeared, uncertainty as to the artistic intent of this innovative fiction has hindered definitive analysis. An understanding of the pieces as further developments of the Beckettian hero’s progressive withdrawal from an absurd macrocosm and descent toward the ever-receding core of the microcosmic self not only defines meaning in each piece but also reveals a thematic unity binding these works together and to the earlier fiction. Trapped in the mind but unable to escape a suffering awareness of the outer world, the figures portrayed undergo Beckett’s own particular brand of crucifying self-perception.

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