The Novel

'Realism, Late Modernist Abstraction, and Sylvia Townsend Warner’s Fictions of Impersonality'

by David James

Published in Modernism/Modernity (2005)

'The New Purism'

by David James

Published in Textual Practice (2007)

Die ‚grandiose Relativität‘ – Zur Deutung des Todes der Charite (Apul. met. 8,1-14)

by Matthias Stern

Paper from a seminar on Apuleius' "Metamorphoses" held by Dr. Marcus Beck at the Martin-Luther-University of Halle-Wittenberg in 2010.

Following the research on the tale about Charite‘s death in Apul. met. 8,1-14, one is able to find many and very... more Following the research on the tale about Charite‘s death in Apul. met. 8,1-14, one is able to find many and very different interpretations of its message.

In this paper I made use of a rather constructivist approach in interpreting Apuleius and developed the thesis that the author deliberately confuses his audience and thoroughly refuses to present a message of his tale. Apuleius does so by:
- purposefully loosing the tale‘s connection the rest of the novel,
- s y s t e m a t i c a l l y  establishing discordant or even contradicting pictures of his figures in intra-, extra-, and intertextual ways,
- and also by wittingly undermining the sub-narrator‘s authority.

So, if one is allowed to modify a statement of Fuhrmann‘s about Tacitus, one can allude to the story of Charite‘s death as a tale of ‚profuse relativity‘.

La verifica utopica del" Pianeta irritabile" di Paolo Volponi

by Alessandro Gaudio

‘The novelist has entered the room: Coetzee’s anti-illusionism’. Review of J. M. Coetzee, Slow Man.

by Andrew van der Vlies

Times Literary Supplement, 2 September 2005: 9-10.

Frans Sammut u n-Narrattiva tal-Progress

by Aleks Farrugia

Speech given on the occasion of the first anniversary from Maltese novelist Frans Sammut's death, on the 4th of May 2012.

Crises de la mémoire

by Yan Hamel

Comte-rendu critique de Susan Rubin Suleiman, Crises of Memory and the Second World War, Cambridge/London, Harvard University Press, 2006, 286 p.

The Heights

by Garry Stanton

A novel about you. And me, probably. And wealth, and poverty, and the gaps. This is a work in progress. A novel about you. And me, probably. And wealth, and poverty, and the gaps. This is a work in progress.

Jean-Paul Sartre, entre Richard Wright et Mathieu Delarue

by Yan Hamel

Pour un roman francais a l'americaine: Jean-Paul Sartre critique litteraire

by Yan Hamel

Dans Études françaises, vol. 43, 3, 2007, p. 41-54.

Au cours de la période de douze ans durant laquelle il a publié ses nouvelles et ses romans (1937-1949), Jean-Paul... more Au cours de la période de douze ans durant laquelle il a publié ses nouvelles et ses romans (1937-1949), Jean-Paul Sartre a aussi fait paraître une série de critiques littéraires et de manifestes pour l’engagement de la littérature. Dans ces critiques et ces manifestes, l’auteur des Situations accorde une place centrale au genre romanesque : cette partie de son oeuvre a été un espace où, en prenant position par rapport aux autres écrivains, Sartre a implicitement défini sa conception du genre romanesque, ainsi que les ambitions littéraires, philosophiques et politiques qu’il poursuivait par l’entremise de ses propres fictions narratives. L’ensemble des oeuvres auxquelles Sartre s’intéresse dans ses essais sur la littérature se caractérise par une stricte bipartition. D’un côté, des prédécesseurs et des contemporains français tels que Jean Giraudoux, François Mauriac, Paul Nizan, Albert Camus et Maurice Blanchot sont plus ou moins durement éreintés selon les cas. En contrepartie, des oeuvres écrites par ceux que Sartre appelle indifféremment « les Américains », c’est-à-dire, pour l’essentiel, William Faulkner, John Dos Passos, Ernest Hemingway, John Steinbeck et Richard Wright, suscitent de l’enthousiasme, reçoivent des éloges et sont considérés comme des modèles dont l’écrivain français devrait idéalement parvenir à s’inspirer. Dans cet article, l’auteur dégage la signification de cette bipartition entre oeuvres américaines et françaises et circonscrit la fonction qu’elle remplit dans le système de la critique littéraire sartrienne.

During the twelve years in which he published short stories and novels (1937-1949), Jean-Paul Sartre also wrote articles of literary criticism and manifestos defending commitment in literature. In these articles and manifestos, the author of Situations focused his reflection on the poetics of fiction. In this part of his work, Sartre situated himself among other writers. He also defined implicitly, with his own conception of the novel, the literary, philosophic and political ambitions he was pursuing at this time. The works of fiction analyzed by Sartre in his articles and manifestos are characterized by a strict bipartition. On the one hand, he subjected his French predecessors and contemporaries like Jean Giraudoux, François Mauriac, Paul Nizan, Albert Camus and Maurice Blanchot to pretty harsh scrutiny, while works by novelists that Sartre lumped together [generally referred to] as the “Americans” (William Faulkner, John Dos Passos, Ernest Hemingway, John Steinbeck and Richard Wright) were enthusiastically praised and heralded as the models to inspire French writers. In this article, Sartre’s system of literary criticism is called forth in elucidating the meaning of this bipartition between American and French fiction.

Le tueur Delarue. La mise à mort des soldats allemands dans La mort dans l’âme de Jean-Paul Sartre

by Yan Hamel

Dans Déborah Lévy-Bertherat et Pierre Schoentjes, J’ai tué. Violence guerrière et fiction, Genève, Droz, 2010, p. 97-109.

"Strategic Empathizing: Techniques of Bounded, Ambassadorial, and Broadcast Narrative Empathy"

by Suzanne Keen

Mit ve Roman Üzerine Kısa Bir Bakış

by Yasemin Kucukcoskun

Co-authored with Cafer Gariper

A short view on myth and novel A short view on myth and novel

Confessions of a Literary Barbarian

by Benjamin Reiss

Published in Slate

La notion de description au XVIIIe siècle

by Christof Schöch

"La notion de description au XVIIIe siècle": extrait de Christof Schöch, La Description double dans le roman français des Lumières (1760-1800). Paris: Classiques Garnier, coll. L'Europe des Lumières, 2011.

L'extrait provient de la première partie de l'ouvrage, intitulée «La description double: histoire et théories de... more L'extrait provient de la première partie de l'ouvrage, intitulée «La description double: histoire et théories de l'écriture descriptive» (p. 23-26 et 31-45). Il est reproduit avec l'aimable permission des Éditions Classiques Garnier.


Plutôt que de formuler une théorie de la description, le texte présenté ici voudrait faire le point sur la conceptualisation de la description pendant la seconde moitié du dix-huitième siècle. Cette synthèse est proposée ici dans l'espoir de contribuer à une vision plus nuancée et plus historique de la description dont les définitions, autant que les formes et les fonctions, changent au gré des époques.

Margaret Atwood, 'L’anno del diluvio'

by Nicola D'Ugo

Pubblicato/Published in: 'Poesia, di Luigia Sorrentino', 15 aprile 2011.

Recensione: 'L'anno del Diluvio' di Margaret Atwood, basata sull'edizione in inglese 'The Year of the Flood',... more Recensione: 'L'anno del Diluvio' di Margaret Atwood, basata sull'edizione in inglese 'The Year of the Flood', Bloomsbury, London 2009.

[Review: Margaret Atwood, 'The Year of the Flood'. London: Bloomsbury, 2009.]

“Not a novel, not even a well-ordered story”: Formal Experimentation and Psychological Innovation in Sarah Grand’s The Heavenly Twins"

by Adam Seth Lowenstein

Bildungsroman

by Aljoša Harlamov

Kliči M za postmodernizem: Frischeva züriška trilogija med modernizmom in postmodernizmom

by Aljoša Harlamov

Prispevek je pisan z dvema namenoma, ki pa sta vzajemna: najprej, osvetliti del romanesknega opusa Maxa Frischa v... more Prispevek je pisan z dvema namenoma, ki pa sta vzajemna: najprej, osvetliti del romanesknega opusa Maxa Frischa v kontekstu modernističnega in postmodernističnega romana, ter povratno, s pomočjo izbranih del Maxa Frischa osvetliti razmerje med modernističnim in postmodernističnim romanom.

" I listened with my eyes": writing speech and reading deafness in the fiction of Charles Dickens and Wilkie Collins.

by Jennifer Esmail

ELH 78.4 (Winter 2011)

While characters with disabilities appear frequently in Victorian fiction, deaf characters, specifically, are almost... more While characters with disabilities appear frequently in Victorian fiction, deaf characters, specifically, are almost entirely absent. In fact, the only deaf characters who use sign language in Victorian fiction are Madonna Blyth in Wilkie Collins’s Hide and Seek and Sophy Marigold in Charles Dickens’s “Doctor Marigold.” Grounding its analysis in these two texts, this article contends that it is, in particular, a deaf character’s relationship to language that disqualifies him or her from conventional representation in Victorian fiction. Through reading Hide and Seek and “Doctor Marigold” in the context of Victorian deaf history, Collins and Dickens’s realist aims, and Victorian generic conventions rooted in transcribing orality, this essay argues that the absence of deaf characters reveals the investment of mid-Victorian fiction in a particular and normativized relationship between bodies, spoken language, and textuality.