Were the Greek novels titled according to a consistent convention? This article confronts the view that the original titles were always historiographical in form (Assyriaka, Lesbiaka, Aithiopika, etc.) and that readers were thus steered to expect, in the first instance, realistic narrative. Examining the evidence in detail, it argues that the formula the novels were likeliest to have shared was ta kata + girl's name (or girl's + boy's names). On this basis, it is concluded that what the titles of (...) the novels promised was primarily invasive narratives of private life. (shrink)

Past experience with video games and cognitive abilities have been hypothesized to independently facilitate a greater ability to learn new video games and other complex tasks. The present study was conducted to examine this “learning to learn” hypothesis. We examined the predictive effects of gaming habits and cognitive abilities on learning of two novel video games in 107 participants. One video game was from the action genre, and the other was from the strategy genre. Hours spent gaming (...) per week and working memory were found to specifically predict learning of the novel strategy video game, after controlling for the effects of age, gender, and action game learning. In contrast, self-identification as a “gamer” was the only specific significant predictor of action game learning, after controlling for the effects of age, gender, and strategy game learning. Age of the participant negatively impacted learning of both games; however, the pattern of the predictive relationships on both action and strategy game learning was not moderated by age. Importantly, a preference for the action versus the strategy game genre had no differential effects on learning of the two novel games, nor were there any gender differences in identification as a gamer or genre preference. Findings from this study suggest that while past gaming experience and cognition do appear to influence the learning of novel video games, these effects are selective to the game genre studied and are not as broad as the “learning to learn” model suggests. (shrink)

The present article concentrates on the concept of “narrative” as a literary category, its characteristics and structural elements. The authors of the article concretize the idea of “narrative”, analyze the main narrative theories, and compare the basic concepts of narratology in the scientific works of outstanding scholars. The “multiple” narrator can be found in the works of original genre with complex compositional and narrative structure. In such narrative structures, the narrator can create his own “reality”, his own author's myth (...) through the view angle of each character. This is typical of modern genre forms, where the plot is built on new genre canons, such as novel forms of the “talk show” format or “SMS” novel. The “multiple” narrator forms the structure, provides plot-compositional unity, “leads” narrative story and influences the genre modification of the literary work. Structural types of “multiple” narrator can perceive the reality subjectively and have the ability to present their own vision of reality and interact with other narrative components such as narrator, recipient, author-demiurge, the signs of which are closely interwoven in the modern text. The narrative component of the novel “Olive Kitteridge” by E. Strout is examined in the article as multi-vector, characterized by free narrative and by a heterodiegetic narrator in an extradiegetic situation. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience (...) of embodiment. Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused (...) on capturing all of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)

Among the works of the ancient Greek satirist Lucian of Samosata, well-known for his scathing and obscene irony, there is the novel True History. In this work Lucian, being in an intense satirical mood, intended to undermine the values of the classical world. Through a continuous parade of wonderful events, beings and situations as a substitute for the realistic approach to reality, he parodies the scientific knowledge, creating a literary model for the subsequent writers. Without doubt, nowadays, Lucian’s large (...) influence on the history of literature has been highlighted. What is missing is pointing out the specific characteristics that would lead to the placement of True History at the starting point of Science Fiction. We are going to highlight two of these features: first, the operation of “cognitive estrangement”, which aims at providing the reader with the perception of the difference between the convention and the truth, and second, the use of strange innovations (“novum”) that verify the value of Lucian’s work by connecting it to historicity. (shrink)

The purpose of this paper is to reveal the peculiarities of the social novel genre content, the traditions of which are rooted in the modern era and transformations under the influence of radical changes in the type of thinking in the postmodern outlook. Postmodern fictional way of thinking is based on the image of the world as a combination of multiplying realities. As the result, the social reality started being perceived as a construction in which complicated-by-intelligence values disappear (...) while elementary routine constructions multiply. Epistemological uncertainty also influenced this result. In conditions of ‘trading reality‘ the intellectuals lose their positions, traditional values destruct, humanities knowledge fades as it doesn’t have any certain market cost, the dream about the social equality vanishes together with the idea of socialism itself. Discourse of possession can not be combined with the discourse of moral. New positions are obtained by the representatives of different subcultures that become the centre of amorphous mass. The modern British social novel represents the social changes, which have occurred owing to the changes of the paradigm of thinking. The absence of socially significant landmarks deprives the British of an impulse to socially significant actions, allows manipulations with masses. The absence of national idea is connected with the painful search of the national identity, which is believed to be the main point in modern literary process. (shrink)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where (...) x is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is (...) related to the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

Crime fiction by women writers across the globe has in recent years begun to explore the position of women detectives within post-feminist cultural contexts, moving away from the explicit refusal of the heterosexual romance plot in earlier feminist ‘hard-boiled’ fiction. In this article, I analyse Hawa Jande Golakai's The Lazarus Effect (2011) and The Score (2015) as part of the tradition of crime fiction by women writers in South Africa. Joining local crime writers such as Angela Makholwa, Golakai not only (...) questions orthodox conceptions of gender and sexuality in traditional iterations of the crime novel, but also combines elements of chick-lit with the crime plot. Reading the archetypal quest structure of the two genres against the background of Sara Ahmed's cultural critique of happiness, I argue that Golakai inventively recasts the recent sub-genre of the chick-lit mystery from the perspective of an Afropolitan detective. Her detective tenaciously undercuts the future-directed happiness script that structures conventional chick-lit and detective novels with their respective focus on finding a fulfilling heterosexual, monogamous romantic relationship, and the resolution of the crime and restoration of order. In this way, the novels defy the frequently assumed apolitical nature of chick-lit texts and also allow us to reimagine the idea of Afropolitanism, outside of its dominant consumerist form, as a critical Afropolitanism that emerges from an openness to be affected by the unhappiness and suffering of others. (shrink)

Narratives are everywhere. We tell narratives about ourselves and we make the world meaningful through storytelling. We position others through the narratives we tell and are positioned by stories told about us. And yet, while narratives have, of course, been analysed in critical discourse studies (CDS), including in one of its most popular approaches, the discourse-historical approach (DHA), this article proposes to go a step further by systematically integrating the concept of narrative into the core of the DHA. More specifically, (...) I consider narrative from the perspective of the concept of narrative genre. That is, I propose a focus on how meaning arises via the narrative genres of romance, tragedy, comedy and irony, i.e. through (modes of) emplotment. Such an integration does not contradict the DHA’s (and CDS’) focus on detailed textual analysis or reject existing foci, e.g. on argumentation, but recognises the centrality of the narrative form for social life and offers further concepts for empirical analyses. This focus on narrative genre contributes, furthermore, to the critical study of meaning-making by revising Jürgen Habermas’ Critical Theory and offering a novel integration of the latter into the DHA, thus providing a theoretically justified, immanent foundation for its critique. (shrink)

ABSTRACT Narratives are everywhere. We tell narratives about ourselves and we make the world meaningful through storytelling. We position others through the narratives we tell and are positioned by stories told about us. And yet, while narratives have, of course, been analysed in critical discourse studies (CDS), including in one of its most popular approaches, the discourse-historical approach (DHA), this article proposes to go a step further by systematically integrating the concept of narrative into the core of the DHA. More (...) specifically, I consider narrative from the perspective of the concept of narrative genre. That is, I propose a focus on how meaning arises via the narrative genres of romance, tragedy, comedy and irony, i.e. through (modes of) emplotment. Such an integration does not contradict the DHA’s (and CDS’) focus on detailed textual analysis or reject existing foci, e.g. on argumentation, but recognises the centrality of the narrative form for social life and offers further concepts for empirical analyses. This focus on narrative genre contributes, furthermore, to the critical study of meaning-making by revising Jürgen Habermas’ Critical Theory and offering a novel integration of the latter into the DHA, thus providing a theoretically justified, immanent foundation for its critique. (shrink)

Genre theory, as it has developed in the last forty years, has made use of what I call a constitutive concept of genre, a concept that has built into it the assumption that genre plays a central epistemic role in the interpretation of verbal discourse. In this paper I argue that there are theoretical problems with such a concept that have not been recognized and that make it unsuitable as a critical instrument in literary history and literary (...) studies. A fruitful concept of literary genre needs to be pragmatic with only a heuristic and not an epistemic function. As an example, the article looks at the criticism produced in connection with the picaresque novel and in particular at the account given of the origin of the genre, an account that could not have been given if one had employed a constitutive concept of genre. (shrink)

In “The Epistemology of Metaphor,” Paul De Man analyzes the problem of figural language in Locke, Condillac, and Kant, and suggests that the proliferation of figuration in language is a central difficulty for eighteenth-century philosophy. De Man, curiously enough, provides examples from philosophy while (aside from an oblique reference to the gothic novel) largely ignoring the "depository of the problem": Literature. And yet, readers of Sterne will find De Man's subject—the fear of metaphoric proliferation in eighteenth-century philosophy in general, (...) and Locke in particular, very familiar. In a sense, this "counterintuitive" reading of Locke and Condillac provides an apt description of the explicit epistemology of Sterne and Diderot. The figurative power of language itself becomes a figure for narrative and identity, and the instability of genres. The central crisis that metaphor causes for language—as far as Locke is concerned—is the mixed mode, the philosophical equivalent of catachresis. This abuse of language is a problem for Locke because of its tendency to be non-referential. De Man points out that Locke's examples are, inevitably, physical "mixed modes" as well: centaurs, monsters, changelings, fetuses that are half-man, half-beast. I would like to suggest that a narrative exploring the non-referentiality of metaphoric language, and its consequent proliferation of abstractions, is liable to be a "mixed-mode" itself. De Man hints at this point when he talks about literature and philosophy's shared "lack of specificity," and very generally about the consequences of his argument for writing a history of either discipline. This is not true for purely philosophical reasons: once the anxiety regarding the referentiality of language spills over into fictional narrative, the issues regarding a narrative's own referentiality inevitably move to center stage. Its own fuzziness becomes apparent, self-conscious, the elephant in the room. That is why the narrator of Marivaux's "Pharsamon" claims that he is writing about nothing, and why Diderot claims that he is not writing a romance, but the truth. Far from being a chimera, this kind of claim spins out a narrative of figurative difficulty. The anxiety about "mixed modes" in eighteenth-century philosophy that occurs in Locke and Condillac is self-consciously extended to genre travesty—a recognition on the part of eighteenth-century writers that the didactic anxiety regarding language and the same didacticism regarding genre were explicitly connected. (shrink)

What does it mean to be of a particular gender? I answer this question with an account of genders as dynamic categories, exploring the analogy between what genders are (e.g., men or women) and what genres are (e.g., Novels, Ballads, or Hip-Hop). For instance, due to its relation to other and earlier pieces, we recognize, e.g., a particular song as Hip-Hop. However, the piece will also develop that genre further. Likewise, e.g., the category of men emerges, persists and transforms (...) through a specific sort of response of individuals to earlier supposed men, which emerges in social interactions. Drawing on critical and (trans-)feminist theory, phenomenologist, enactivist, and systems theoretical approaches, I show that gender categories themselves develop in a dynamic between three elements: (1) at any given time, there is an enactment class of individuals ambiguously belonging to the category in question; (2) these individuals are, in an embodied and intersubjective way, enacted as practical reinterpretations of earlier members of that category; (3) this unfolds in a matrix of hermeneutic and material relations, which loop with both the class and the enaction. Thereby, that an individual is gendered, emerges between two levels of enaction, that of bodily people and that of the dynamic between them. As what an individual is gendered in enaction, however, is constituted by relations within and beyond that situation. This responsive realization gives rise to feedbacking histories of acts, people, relations, and enactment classes, thus explaining how gender can be both solid and open to change. (shrink)

Jacques Derrida argues that the feminist and intellectual Hélène Cixous is the most important writer working within the French idiom today. To prove this, he elucidates the epistemological and historical interconnectedness of four terms: genesis, genealogy, genre, and genius, and how they pertain to or are implicated in Cixous's work. Derrida explores Cixous's genius (a masculine term in French, he is quick to point out) and the inspiration that guides and informs her writing. He marvels at her skillful working (...) within multiple genres. He focuses on a number of her works, including her extraordinary novel _Manhattan_ and her lyrical and evocative _Dream I Tell You_, a book addressed to Derrida himself and one in which Cixous presents a series of her dreams. Derrida also delves into the nature of the literary archive, the production of literature, and the importance of the poetic and sexual difference to the entirety of his own work. For forty years, Derrida had a close personal and intellectual relationship with Hélène Cixous. Clever, playful, and eloquent, _Geneses, Genealogies, Genres, and Genius_ charts the influence these two critical giants had on each other and is the most vital work to address Cixous's contribution to French thought. (shrink)

Both literature and philosophy, as genres of writing, can enable us to address important ontological, epistemological and ethical questions. One author who makes it possible for readers to bridge these two genres is Albert Camus. Nowhere is this more evident than in Camus’ short novel, The Fall. The Fall, through the character and words of Jean‐Baptiste Clamence, prompts readers to reflect deeply on themselves, their motivations and commitments, and their relations with others. This paper discusses the origin and structure (...) of the book, identifies some of its key philosophical themes, and explores some of its educational implications. (shrink)

The aim of this paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first philosopher—and one of the first thinkers in general who focused on the issues of artistic and rhetorical genres, philosophy as such did not treat these issues for a considerably long time. One of the first philosophers who approached the genre issue within the larger context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher and a (...) literary scholar. As early as the 1920s he founded philosophical thinking on the so-called small speech genres, which later served as the basis for a remarkable theory of primary and secondary genres. Bakhtin is a world renowned theoretician on the novel, but his genre theory is nevertheless very topical, too, since it relates to issues focused on by philosophers much later. (shrink)

The aim of the paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first among philosophers – and one of the first among thinkers in general – who focused on the issues of artistic and rhetorical genres, philosophy ignored these issues for a considerably long time. One of the first philosophers who approached the issue of genre within a wider context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher (...) and literary scholar. As early as in the 1920s he started to reflect on the so-called small speech genres. It later served him as the basis for a remarkable theory of the primary and secondary genres. Bakhtin is a world-wide renowned novel theoretician, but his genre theory is no less topical, since it corresponds with the issues focused on by philosophers much later. (shrink)

Jacques Derrida argues that the feminist and intellectual Hélène Cixous is the most important writer working within the French idiom today. To prove this, he elucidates the epistemological and historical interconnectedness of four terms: genesis, genealogy, genre, and genius, and how they pertain to or are implicated in Cixous's work. Derrida explores Cixous's genius and the inspiration that guides and informs her writing. He marvels at her skillful working within multiple genres. He focuses on a number of her works, (...) including her extraordinary novel _Manhattan_ and her lyrical and evocative _Dream I Tell You_, a book addressed to Derrida himself and one in which Cixous presents a series of her dreams. Derrida also delves into the nature of the literary archive, the production of literature, and the importance of the poetic and sexual difference to the entirety of his own work. For forty years, Derrida had a close personal and intellectual relationship with Hélène Cixous. Clever, playful, and eloquent, _Geneses, Genealogies, Genres, and Genius_ charts the influence these two critical giants had on each other and is the most vital work to address Cixous's contribution to French thought. (shrink)

The value of this essay is not to reiterate the extant views on horror literature, but to make available for the first time to the world at large the textual foundations of considering horror literature as a genre by itself. The Gothic is a different genre altogether though most of us want to conflate and confuse between these two genres. Someday I shall write at length about the nature of the horrific. Suffice to say for now that the (...) focus is that long ago, H. P. Lovecraft in his essay mentioned within this essay distinguished between the gothic as a literary genre and horror literature as another literary genre. And Lovecraft showed us that the horror as a literary genre is by far the greater of the two genres. This essay does not get into the literary values of either the gothic or the horror novel. That has been treated in a fuller manner by this author in his PhD thesis. (shrink)

The genre of fable tends to be overlooked in the study of Korean literary history on the ground that the genre seems too archaic to reflect the aesthetic standards established in the modern European novel, in which the focus lies in the realistic representation of the individual or contemporary society. However, the genre was not completely abandoned by modern Korean writers. Few critics have noted the continuing role played by the rich Korean fable tradition, which eventually (...) made the reinvention of the genre in the mass media possible. In particular, it is worth noting that there was the emergence of a new subgenre of fable in the late nineteenth century: that is, fabulous court case fiction, which is quite distinct from the Chinese literary tradition that had underprivileged imaginative narrative texts under the absolute domination of Confucian historiography. The genre of fabulous court case fiction makes us reconsider the plurality of narrative forms and various narrative functions. In this study, I examine how imaginative narrative texts such as fables simultaneously pursue the pleasure of storytelling and the purposes of both moral and specialized education. (shrink)

Doris Lessing, the Persian-born, African-raised and London-residing novelist enjoys a writing career which has spanned more than 50 years. Critics have labeled her as Marxist, feminist, Sufist and even psycho-analyst. It is my contention to prove that latent Sufi characteristics are inherent in her works, and this premise marks a difference between my study and other research on Lessing. To prove that even Lessing’s early works contain Sufi characteristics, this paper looks at her early fictions which lend themselves to Sufistic (...) interpretation. The theoretical framework used in this paper proves the manifestations of Sufism in her early works which involve different Sufistic concepts. The methodology appropriated entails tracing some of these concepts in these novels which are overtly Sufistic. I would also show how Lessing invites a Sufi reading of her novels and whether there are direct signs or changes in her choices of genre, mode, and style that suggest a new vision and a changed worldview and outlook. By revisiting her writing life to show that Sufism has always been present in her works, I depart from other critics and researchers who examine Lessing’s works in more general terms. This departure is significant because the use of a non-western perspective actually enriches our understanding of Lessing who is mainly read from eurocentric points of view. (shrink)

In the article on material of seventeen texts, the problem of world outlook strategy in the American novel of the 21th century is studied. The most influential author’s models are considered: neodecadence, post-apocalyptic humanity, personal versions of social and psychological realism and existentialist consciousness. The main attention is paid to the description and interpretation of the general for modern American novels of a national picture of the world. The family history remains the stable level of a narration. At other (...) level, there is a depressive or protest word about a condition of life, about the absolute beginnings dooming the person to suffering. In the narrative center, there is a hero, who has to solve personal problems in the context of the opened emptiness capable to get metaphysical meanings or to replace them. Reducing dynamics of a plot and formation of character, the novel becomes a form of the image of a steady state. For this state, the complex combination of two literary archetypes is characteristic: Job and Hamlet. The love to the world is not provided, the problem of finding of arguments for continuation of life is perceived by writers as main. If the classical American novel has positioned itself between dream and the tragedy, the modern novel settles down between everyday life and emptiness. The key paradox of the studied art texts is connected with it: two forms of fatigue - not only from the Absolute responsible for weight of existence, but also from its absence connect in one complex. The hero does not know with whom he does not agree: God or with essentially subjectless life depriving any God of will, power and sense. Search of new moral rituals is represented in this situation quite natural. (shrink)

ABSTRACT This article, based on Bakhtin’s studies, focuses on the historical novel genre and its particularities. The route is based on the concept of chronotope, representing the inseparability of time and space. The materiality of analysis is the novel Verde Vale, by Urda Alice Klueger. The analysis carried out highlights the chronotope of transmigration as a figure that underlies the historical narrative; it unfolds into two subordinate themes: the threshold and soil chronotopes, symbolizing the movements observed in (...) the narrative construction of the novel. Linked to these chronotopic representations, the theme of the soil, which implies rooting and also refers to the origin, allows the expansion of the analysis bringing the phenomena of toponymy and anthroponymy closer together, worked as memory and identity events. RESUMO Este artigo aborda o gênero romance histórico e suas particularidades a partir dos estudos de Bakhtin. O trajeto se faz em torno do conceito de cronotopo, figurando a indissociabilidade de tempo e espaço. A materialidade de análise é a obra Verde vale, de 1979, da catarinense Urda Alice Klueger. A análise realizada destaca o cronotopo da transmigração como figura que alicerça a narrativa histórica; ele se desdobra em dois temas subordinados: o cronotopo da soleira e o da terra, simbolizando os movimentos observados na construção narrativa do romance. Vinculado a essas representações cronotópicas, o tema da terra, que implica enraizamento e remete também a origem, permite a ampliação da análise aproximando os fenômenos de toponímia e antroponímia, trabalhados como eventos de memória e identidade. (shrink)

The success of popular women's fiction requires a mode of analysis that is able to reveal the patterns across this category in order to better understand the appeal of these books. Popular fiction, like chick-lit, can be contradictorily framed as simultaneously constituting one, as well as many genres, if a genre is the codification of discursive properties. It may consist of romances, thrillers, romantic suspense and so forth in terms of its discursive properties, but popular women's fiction will also (...) have a pattern of similarity that cuts across these forms – that similarity, I will suggest, lies in the idea of pleasure as a genre of affect that ties various popular fictions together, thereby acting as a type of imperial genre. Pleasure is so ubiquitous and so diverse across the multiple forms that constitute popular women's fiction that I argue it has become a genre in itself. This is, however, not a genre that limits itself to one particular stylistic form, but rather, as a dynamic social construct, it has become a genre of affect that invokes feelings of pleasure. Nthikeng Mohlele's most recent novel, Pleasure, exemplifies the applicability and plasticity of the concept of pleasure, allowing me to examine this work as a type of fictionalised theory which I then apply to South African chick-lit texts: the Trinity series by Fiona Snyckers and Happiness Is a Four-Letter Word by Cynthia Jele. Mohiele's expansive theorisation of pleasure is inherently local in that it is depicted at the level of experience and imagination; yet it is simultaneously macro and global in the connections made to deeply political circuits of identity-based oppressions and structural inequalities. Mohlele reveals the mobility of pleasure as a genre that offers an opportunity to think through the circuits that connect popular fiction through the lens of African literature. (shrink)

Through the voice of the narrator of Remembrance of Things Past, Proust observes of the painter Elstir that the paintings are bolder than the artist; Elstir the painter is bolder than Elstir the theorist. This book applies the same distinction to Proust; the Proustian novel is bolder than Proust the theorist. By this the author means that the novel is philosophically bolder, that it pursues further The task Proust identifies as the writer's work: to explain life, to elucidate (...) what has been lived in obscurity and confusion. In this, the novelist and the philosopher share a common goal: to clarify the obscure in order to arrive at the truth. It follows that Proust's real philosophy of the novel is to be found not in the speculative passages of Remembrance, which merely echo the philosophical commonplaces of his time, but in the truly novelistic or narrative portions of his text. In Against Sainte-Beuve, Proust sets forth his ideas about literature in the form of a critique of the method of Sainte-Beuve. Scholars who have studied Proust's notebooks describe the way in which this essay was taken over by bits of narrative originally intended as illustrations supporting its theses. The philosophical portions of Remembrance were not added to the narrative as an afterthought, designed to bring out its meaning. What happened was the reverse: the novel was born of a desire to illustrate the propositions of the essay. Why then should we not find the novel more philosophically advanced than the essay? Reversing the usual order following by literary critics, the author interprets the novel as an elucidation, and not as a simple transposition, of the essay. The book is not only a general interpretation of Proust's novel and its construction; it includes detailed discussions of such topics as literature and philosophy, the nature of literary genres, the poetics of the novel, the definition of art, modernity and postmodernity, and the sociology of literature. (shrink)

The first examples of the novel genre in modern Arabic literature emer-ged with the innovation movements initiated in this country after Napoleon's invasion of Egypt. In terms of technique and fiction, the Arab novel's reaching the desired standards and the first novel examples in the literary sense were made possible by the contributions of many writers who came to the fore with their different identities from writing novels. One of these writers, better known as a critic, (...) is Ibrāhīm ʽAbd al-Qādir al-Māzinī. Māzinī, who has written works in many fields of literature, is a master writer who has mostly written psychological novels. The aim of this study is to examine the themes that Māzinī, one of the important names of Arabic literature, included in his novels. In our study, Māzinī's novels Ibrāhīm al-Kātib, Ibrāhīm al-Thānī and Thalāthat Rigâl wa’mra’ah were examined and in these novels, mainly love, affection, pressure of tradition, despair, pessimism, disappointment, sadness, fear, delusion, jealousy and stinginess were examined. It has been determined that themes such as While many different themes were seen in the novels of many writers of his time, it is seen that the themes in Māzinī's novels are mostly psychological themes that reflect the inner world of man. In this respect, Māzinī differs from many other Arab novelists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Women Philosophers: Genre and the Boundaries of PhilosophyLorraine CodeCatherine Villanueva Gardner. Women Philosophers: Genre and the Boundaries of Philosophy. Boulder, CO: Westview, 2003. Pp. xv + 198. Paper, $22.00.In a tradition which "trains us to read purely for content" (xii), Catherine Gardner wonders how to read the philosophy of five women who write in "non-standard philosophical forms" (xiii): Mechthild of Magdeburg's poetry, Christine de Pisan's allegory, (...) Catharine Macaulay's epistolary form, and Mary Wollstonecraft's and George Eliot's fiction. Asking how these authors' gender and their works' genre bear on their exclusion from canonical philosophy with its reliance on rigorous argument unsullied by stylistic considerations, she argues that form is integral to understanding philosophy, and can impede its recognition as philosophy. Specifically, she wonders what these historical writings can offer present-day feminist ethics?Gardner's readings and her thesis about style and genre as conditions of philosophical legitimacy are provocative. She urges "reading past" forms deemed inhospitable to moral truth—such as Macaulay's epistolary style (44-45)—to encounter the author as moral philosopher, and explain her invisibility as such. Eliot's philosophy "demands the form of a novel" (123), she proposes, and Wollstonecraft's principles of style "are ultimately principles of morality as well" (92). More complex is the poetically articulated moral epistemology in Mechthild's The Flowing Light, with God, speaking through Mechthild, as its author (154-56). Because these forms—epistolary, allegorical, mystical-poetic, fictional—have been most accessible to women, Gardner urges feminists to consider how these authors' gender bears on their exclusion from moral philosophy. Owing to women's "greater capacity for emotion and... weaker capacity for reason" (155), mystics such as Mechthild were deemed well-suited to write as they did; yet works attributed to God stand immune to philosophical argument. Macaulay's thoughts on government and social reform were judged secondary to her "feminine" ones about educating women for marriage and domesticity (26-27). Gardner is persuaded and persuasive about the philosophical stature of the works she discusses. Yet if a thinker's gender denies her philosophical status, how can she bypass those exclusionary structures—even if, like Eliot, she chooses a male name? If a work's genre removes it from the sustained argumentative debate that is the hallmark of western philosophy, how can it claim a place there?There are no easy answers, but the questions spark numerous others. Perplexing is Gardner's contention that these women are ignored because they defy norms of style and method. But how would she classify Plato's dialogues, Voltaire's Candide, Pascal's and Nietzsche's aphorisms, Wittgenstein's numbered propositions,or Sartre's, Camus' (and Beauvoir's) philosophical novels, given their maverick styles? Style alone cannot effect or explain the exclusions she deplores. More puzzling are Gardner's conceptions of standard method and dominant form (e.g., 24, 120, 175), since she does not elaborate, apart from indicating that both require rigorous prose argument. But formal and methodological orthodoxy varies historically, as in the influence of scholasticism, for Christine, which receives no mention, or Gardner's ahistorical suggestion that the absence of a "normative subject as an independent, autonomous individual" (171) is a lacuna in Mechthild's work. Why would a thirteenth-century writer presuppose an Enlightenment subject? These issues demand attention in a work of historical scholarship.A different question troubles the method discussion. The author regrets certain women's exclusion from the canon despite the philosophical nature of their work, maintaining that [End Page 215] works whose styles/forms diverge from the standard count, nonetheless, as philosophy. These women demonstrate that philosophy need not be couched in formal argument: poetry, allegory, novels can also articulate philosophical theories. But—if my reading is correct—here Gardner is inconsistent. She commends the philosophy in Macaulay's Letters, claiming it "can and does contain the sort of sustained argument... uncontroversially identifiable as... philosophical" (44), and makes similar claims for Wollstonecraft and Eliot. But in legitimating these works by received standards of argument after all, Gardner weakens the force of her claims that philosophy—good philosophy—need not be presented in orthodox form, thus... (shrink)

Anti-utopia as a genre of literature has always attracted scientific interest. The result of this interest is a number of definitions of the term ‘anti-utopia‘, none of which is universally accepted, and singling out of peculiar characteristics of such literature. The term ‘young adult anti-utopia‘ and specific features of such novels present a scientific lacuna. Having studied the language means creating the fictional world picture in modern anti-utopian young adult trilogies, the author identifies 15 main features typical of the (...) genre. The results of the research lead to the conclusion that some of the features are universal for the genre of anti-utopia in general: description of a totalitarian state, geographical limitation, vague identification of the past, suffering of the poor, a brave protagonist trying to shatter the existing government, etc. But some other features, mainly, the ones connected with teenage self-identification and alleviation of adolescent stand against the worlds of childhood and adulthood, are typical of young adult anti-utopias: young adult as a protagonist, importance of beauty, ability to sacrifice, a deem hope of a better future preconditioned by evolution of the human race. (shrink)

After the novel, and subsequently cinema privileged narrative as the key form of cultural expression of the modern age, the computer age introduces its correlate — database. Why does new media favour database form over others? Can we explain ist popularity by analysing the specificity of the digital medium and of computer programming? What is the relationship between database and another form, which has traditionally dominated human culture — narrative? In addressing these questions, I discuss the connection between computer's (...) ontology — the way software represents the world — and the new cultural forms privileged by computer culture such as database. I propose that computerisation of culture involves projection of two fundamental parts of computer software — data structures and algorithms — onto the cultural sphere. Thus CD-ROMs and Web databases are cultural manifestations of one half of this ontology — data structures; while new media narratives are manifestations of the second part — algorithms. I conclude by proposing that in computer culture database and narrative do not have the same status. Given that on the level of data organisation most new media objects are databases, it is not surprising that on the level of form database also dominates new media culture. (shrink)

This article investigates the critical potential of a contemporary dystopia, The Handmaid’s Tale (Miller 2017-), a U.S. television series adapted from a popular novel by Canadian author Margaret Atwood (1985). The text is widely understood as a feminist intervention that speaks to ongoing struggles against gender oppression, but in this article I consider the invitations that the show offers its viewers in treating race the way that it does, and consider what it means to refuse these invitations in pursuit (...) of a critical feminist understanding of authority, legal subjectivity, and violence. Drawing on the recent turn to genre, my reading focuses on how whiteness is reproduced through this cinematic text and its inculcation of particular ways of seeing, modes of identification and attachment. The Handmaid’s Tale’s post-racial aesthetic means that its thematic engagement with gender, sexuality and resistance actively disavows national and international histories of racist state violence and white supremacy. Its problematic feminism is thus uniquely instructive for understanding how whiteness is reproduced in contemporary (neo)liberal configurations of legal subjectivity and state authority. (shrink)