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See below for a selection of the latest books from Literary studies: fiction, novelists & prose writers category. Presented with a red border are the Literary studies: fiction, novelists & prose writers books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great Literary studies: fiction, novelists & prose writers books and those from many more genres to read that will keep you inspired and entertained. And it's all free!
This book establishes the existence of a road trip genre in the literatures of Canada. Geography describes the land, and history peoples it, just as memories connect you to place. This is why road trips are such a feature of Anglophone, Qu b cois and Indigenous writing in Canada, allowing the travelers to claim, at least symbolically, the terrain they have traversed. It is the intersection of history and geography that makes a journey so significant, nourishing a sense of place or revealing the lack of it. Examining the road trips undertaken therefore tells us much about the specific interests of the three general groups at the centre of this study. Their desire, and, in some cases, necessity to travel, the traveling companions and destinations they choose, and the histories they create on the land they are covering are indicative of their particular sense of place and nationhood within the country. In order to demonstrate this phenomenon, the book examines works by a variety of Anglophone, Qu b cois and Indigenous writers, including Gilles Archambault, Jeannette Armstrong, Jill Frayne, Tomson Highway, Linda Hogan, Scott Gardiner, Claude Jasmin, Robert Kroetsch, Lee Maracle, Jacques Poulin, Aritha van Herk and Paul Villeneuve. A comparative approach to literatures in Canada is the logical continuation of postcolonial studies in that it reveals the intricacies and specificities of various communities, contributing to a more complete understanding of multiple national collectivities. It also offers an important counternarrative to transnational studies. This book is published in English. - Cet ouvrage tudie l'existence et la tradition du roman de la route au Canada. La g ographie d crit le territoire et l'histoire lui insuffle vie, tout comme les souvenirs sont des points d'attache un lieu donn . Voil pourquoi les road trips ont une place privil gi e dans l' criture d'expression anglaise, fran aise et autochtone du Canada: ils permettent aux voyageurs de revendiquer, du moins symboliquement, le terrain qu'ils ont couvert. C'est l'intersection de l'histoire et de la g ographie qui conf re toute sa signification un voyage, qui alimente cet esprit des lieux, ou qui permet d'en constater l'absence. Les voyages sont r v lateurs des int r ts propres aux trois groupes examin s dans le cadre de cette tude. Le d sir, et parfois la n cessit , d'entreprendre un voyage, les compagnons de voyage ainsi que les destinations, de m me que l'histoire qui s' crit au fil des distances parcourues sont autant d'indicateurs de cette notion de l'espace et du concept de nation au sein du pays. Pour illustrer ce ph nom ne, ce livre examine des oeuvres litt raires d'une gamme d' crivains anglophones, qu b cois et autochtones, dont Gilles Archambault, Jeannette Armstrong, Jill Frayne, Tomson Highway, Linda Hogan, Scott Gardiner, Claude Jasmin, Robert Kroetsch, Lee Maracle, Jacques Poulin, Aritha van Herk et Paul Villeneuve. L'approche comparative aux litt ratures du Canada est le prolongement logique aux tudes postcoloniales dans la mesure o elle r v le les complexit s de m me que les sp cificit s de diverses communaut s, contribuant ainsi une meilleure compr hension de collectivit s nationales. Elle propose, en outre, des histoires qui font le contrepoids aux tudes transnationales. Ce livre est publi en anglais.
This book investigates Stevenson's literary collaborations with family and friends as he travelled Scotland, America and the South Pacific. With critical readings of both major and minor Stevenson texts, supported and contextualised by unpublished manuscripts and letters by both Stevenson and those he wrote with, this book argues that Stevenson's writings are both a product of and a meditation on collaborative writing.
Alternate history is a genre of fiction that, although connected to science fiction, has its own rich history and lineage. With its roots in the writings of ancient Rome, alternate history matured into something close to its current form in the essays and novels of the nineteenth century. In more recent years a number of highly acclaimed novels have been published as alternate histories, by authors ranging from bestselling science fiction writers to Pulitzer prize-winning literary icons. The popularity of the genre is reflected in its success on television, where original concepts have been developed alongside adaptations of classic texts such as Philip K. Dick's The Man in the High Castle. This collection of essays, by both leading scholars in the field and rising stars, seeks to redress an imbalance between the importance and quality of alternate history texts and the available critical scholarship on the genre. The essays acknowledge the long and distinctive history of alternate history whilst also revelling in its vitality, adaptability, and contemporary relevance.
Didactics and the Modern Robinsonade examines modern and contemporary Robinsonade texts written for young readers, looking specifically at the ways in which later adaptations of the Robinson Crusoe story subvert both traditional narrative structures and particular ideological codes within the genre. This collection redresses both the gender and geopolitical biases that have characterized most writings within the Robinsonade genre since its inception, and includes chapters on little-known works of fiction by female authors, as well as works from outside the mainstream of Anglo-American culture.
In James Joyce and the Matter of Paris, Catherine Flynn recovers the paradigmatic city of European urban modernity as the foundational context of Joyce's imaginative consciousness. Beginning with Joyce's underexamined first exile in 1902-03, she shows the significance for his writing of the time he spent in Paris and of a range of French authors whose works inflected his experience of that city. In response to the pressures of Parisian consumer capitalism, Joyce drew on French literature to conceive a somatic aesthetic, in which the philosophically disparaged senses of taste, touch, and smell as well as the porous, digestive body resist capitalism's efforts to manage and instrumentalize desire. This book resituates the most canonical of Irish modernists in a European avant-garde context while revealing important links between Anglophone modernism and critical theory.
Henry James left America in 1876 for the sake of his art and for the rich cultural heritage of Europe. His return in the late summer of 1904, based on both romantic and practical motives, allowed him to revisit the now-transformed cities of his youth as well as to experience for the first time the country's southern states. The American Scene is a major work from James' final, most adventurous creative phase and offers a cultural and social critique of contemporary American society as well as a personal series of 'gathered impressions', a form of indirect yet sometimes intimate autobiography. This new edition includes detailed explanatory notes, a general introduction, a chronology, an itinerary of James' journey, a record of textual variants and rare manuscript material, appendices which include the journal James kept, texts for the two lectures he gave, and two additional essays written on his return to England.
In 1911, Franz Kafka encountered the Kaiser Panorama: a stereoscopic peep show offering an illusion of three-dimensional depth. After the experience, he began to emulate the apparatus in his literary sketches, developing a style we might call stereoscopic, juxtaposing, like the optical stereoscope, two images of the same object seen from slightly different perspectives. Isak Winkel Holm argues that Kafka's stereoscopic style is crucial to an understanding of the relation between literature and politics in Kafka's work. At the level of content, the stereoscopic style offers a representation of the basic order of a specific community. At the level of form, the stereoscopic style is structured as the juxtaposition of two dissimilar images of the same community. At the level of function, finally, the style provokes a reconsideration, and perhaps even a reconfiguration, of the social order itself. With insights from literary studies, philosophical aesthetics and political theory, Kafka's Stereoscopes offers a detailed but highly readable argument for the relevance of Kafka's literary works in today's political reality.
In his fourth book on writing, Glover draws on his long career as a fiction writer, essayist, and mentor to consider literary form from three angles: the techniques writers use to compose fiction, a craft-based approach to reading, and the analysis of texts by masters ranging from Jane Austen to Albert Camus to the great Polish experimentalist Witold Gombrowicz. Equal parts writing instruction and literary criticism, many of these essays evolved from lectures delivered at the Vermont College of Fine Arts MFA in Writing Program, while others embark on a new kind of literary criticism, at once both formalist and empathetic, which shows how form and theme are woven together to create art. A practical and illuminating guide from the writer the Wall Street Journal calls a master of narrative structure.
This book begins with the question: How are literary fragments defined as such? As a critical term, fragment is more of a starting-point than a definition: Is part of the manuscript missing? Is it grammatically incomplete, using unfinished sentences? Is it made to look unfinished? Fragment and fragmentation have been used to describe damaged manuscripts; drafts; notes; subverted grammatical structures; the emergence of vers libre from formal verse; texts without linear plots; translations; quotations; and works titled Fragment regardless of how formally complete they might appear. This book offers a phenomenological reading of modernist literary fragments, arguing that fragments create states of conflicted embodiment in which mind and body cannot cleanly separate. Drawing on the concept of aestheticism as an overstimulated body, each chapter connects fragments to experiences of physical and emotional ambiguity, exploring difficulties in speaking, writing and translating; spasms of laughter; and disrupted vision.The author introduces fragmentation as an aspect of what Julia Kristeva and Helene Cixous term ecriture feminine, and offers new readings of the texts that Stephane Mallarme struggled to finish, associating his fragmentation with translation and the Crise (Crisis) of vers libre. The author then considers the fragmentary affects of humour, ranging from Henri Bergson to Mina Loy and T. S. Eliot. Urban fragmentation is explored in Hope Mirrlees Paris: A Poem, John Maynard Keynes The Economic Consequences of the Peace, Felix Feneons Nouvelles en trois lignes, Apollinaires Zone, and Walter Benjamins Arcades Project. The author ultimately weighs the claim of literary fragmentation as an ethical commitment to detail, embedded in the living body, against a view of fragments as more numbed traces or disembodied remnants.