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Ann Jefferson (1949) is a British scholar, Professor at the University of Oxford and the author of seven books on French literature, including: The Nouveau Roman and the Poetics of Fiction (1980), Reading Realism in Stendhal (1988), Nathalie Sarraute, Fiction and Theory: Questions of Difference (2000), Stendhal: La Chartreuse de Parme(2003), Biography and the Question of Literature in France (2007) and Genius in France: An Idea and its Uses (2014) and Nathalie Sarraute: A Life Between (2020). She also co-edited Modern Literary Theory (1982) with David Robey. In 2004 she was elected a Fellow of the British Academy. She was a visiting professor at Columbia University (USA) and the Sorbonne, Paris (France). Since 2015 she has been an Emeritus Fellow of New College (Oxford).
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Ann Jefferson (1949) është studiuese angleze, profesoreshë në Universitetin e Oksfordit dhe autore e shtatë librave kritikë mbi letërsinë franceze, si: Romani i Ri dhe poetika e prozës (1980), Duke lexuar realizmin nëpërmjet Stendalit (1988), Natali Sarot, Fiksioni dhe Teoria: probleme të dallimit (2000), Stendali: Manastiri i Parmës (2003), Biografia dhe çështja e letërsisë në Francë (2007) dhe Gjeniu në Francë: ideja dhe përdorimi (2014). Gjithashtu, në bashkautorësi me studiuesin David Robey, ka botuar librin Teori letrare moderne (1982). Nga viti 2004 është anëtare e Akademisë Britanike. Përveç në Oksford, ku tash është Proffesor Emeritus, ka ligjëruar edhe në Columbia University (SHBA) dhe Sorbonne (Francë).
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The purpose of the research is to consider the theoretical aspects of the proper names functions in a literary text. Research methods – induction, deduction, descriptive, contextual-interpretive and component analysis. Scientific novelty. Proper names in a literary text have many functions, but in science there is still no single approach to determining the number of functions of proper names in a literary text. At present, many attempts have been made to systematize the functions of poetonyms, but a single view on this problem has not yet been developed. The reasons for this state are differences in the views of linguists on the essence of functions, and violation of the rules of classification schemes, and the lack of logically and linguistically sound hierarchy of poetics categories of onyms, and confusion of phenomena of different levels and quality, including inconsistency in linguistic and extral speech, and the difficulty of assigning a property of the poetonym to semantics or poetics, and so on. The multifunctionality of onyms is quite obvious, as in the artistic text they perform the main linguistic functions of nomination, identification, differentiation and specific stylistic ones, which are layered on the main ones and make their own name an expressive artistic means. An analysis of the theoretical aspects of the functions of proper names in literary works will contribute to a deeper understanding of the peculiarities of using proper names in a literary text. Conclusions. The functions of proper names in works of art are numerous and varied and this serves the style of the text helps writers to show the character of a character, create a special world of a work of art. A further comprehensive study of the functional and stylistic load of onyms in various genres of art works by modern Ukrainian writers is a perspective of next studies.
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Ian Rankin’s world-famous crime series features as a main character Inspector Rebus, who, in the city of Edinburgh, wanders, drives, drifts, tails and chases suspects. In each novel, the narrative visits a number of referential locations and examines them through the prism of time, slowly building a diachronic map of the city. As the series spans more than thirty years, the urban locus evolves as the narrative unfolds. Ian Rankin takes stock of new urban developments in real time and draws on them to feed his plots. Piecing a map together therefore remains a work in progress, and the literary geography of Edinburgh gazes out at an endlessly elusive horizon.
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In Fangirl (2013) and Carry On (2015), the American writer Rainbow Rowell blurs the lines between reality and fiction, as well as extradiegetic and intradiegetic narratives. This article aims to shed light on the transgressive and unstable aspects of Rowell’s fictional worlds where her characters are able to move from one diegetic level to another. By placing the embedded story in Fangirl at another level, the Young Adult author presents a work where borders do not exist. Through the expansion of the intertwined worlds, she jostles the standard and normative codes of time and space in literature.
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ll contribute» traceia un panorama delle principali caratteristiche dell'espres-sione artistica della letteratura rovignese contemporanea, completando nel con-tempo gli studi anteriori in materia. Sui testi di prosa nell'antologia Istria Nobilis-sima si studiano problemi sintattici, semantici, pragmatici e in parte lessicali: espressione dell'intensita, frasi dipendenti performative, frasi scisse, interiezioni, elementi alloglotti e, infine, certe locuzioni di carattere spiceatamente affettivo. Malgrado la posizione sociolinguisticamente inferiore tra i due grandi «vicini» (il croato e l'italiano), l'istroromanzo, soprattutto rovignese, mostra vitalita e serve da mezzo d'espressione della letteratura regionale del suo minuseolo territorio.
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By analyzing the depiction of androgyny in Marge Piercy’s science fiction novels in the context of gender performativity and constructionism, this article demonstrates that androgyny may be used as a tool for deconstructing gender roles. Arguably, Piercy proposes a new, non-essentialist vision of humankind through the creation of androgynous or agender human and cybernetic bodies. Moreover, the article substantiates how the images of utopian worlds, which present futuristic hope, are connected with the postgender idea of gender transcendence, while the dystopian ones seem to be strongly related to gender essentialism.
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The topic of culture in crisis is one of those which at first look may evoke a false impression that it is easy to deal with. Even though we are now confronted with the serious issue of the world pandemic which has affected culture in the broadest sense really hard, culture seems to have been in crisis for longer time than anyone would have noticed before the pandemic. The way all the areas of culture operate nowadays may evoke in many people the feeling that artists and other people involved in all kinds of creative processes are lost for ideas (and means). I decided to opt for one area that is closest to mass ‘consumers’ of what we like to refer to as popular culture – film adaptations of some of the most traditional literary texts still alive – detective fiction. For my research and subsequent analysis, comparison and a bit of confrontation with criticism, I selected a few novels by Agatha Christie featuring Miss Marple as one of her most popular sleuths and their adaptations. Before getting to the adaptations themselves, however, I also tried to offer a critical look at theatre as one of the branches of performing arts closely related to TV production through creative teams composed largely of people of similar professions, thus facing similar problems.
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