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This article provides a new reading of the question of friendship as it is interrogated by Jane Austen's major fiction. In a discussion that ranges from Northanger Abbey to Persuasion it argues that her fiction is characterized by escalating skepticism about the authenticity and durability of what passes for friendship in its social worlds. With recourse to work by Jacques Derrida and Irving Goh it argues that friend in her work is a category that is undermined or vacated by its very excess. Austen emerges from this discussion as a novelist of amity who harbors an anti-gregarious streak and whose works are drawn to a fantasy of friendship without friends. [ABSTRACT FROM AUTHOR]

The adaptation of novels to cinema causes problems between the novelist and the film producer. Although the novelist and the film producer are at the forefront in this relationship, there are also important actors such as the director, script writer, dialogue writer, who are essentially the authors of the film. However, considering the position of the film producer, it is accepted that the film producer is also responsible for the acts and actions of the authors of the cinematographic work. While the author wants that the movie is faithful to the book, the film producer wants to create a film that attracts the attention of the cinema audience, and the owners of the cinematographic work want to create a cinema work that bears their own characteristics within the scope of freedom of creation. In order to prevent disputes between the parties, a detailed assignment agreement must be concluded between the producer and the author of the novel, and the author of the novel must clearly specify the changes to be permitted by the author. Changes made without the author's authorisation will violate the right to make changes to the work. If the author has not given explicit permission to change the plot, characters, basic thoughts and feelings of the book within the scope of loyalty to the work, changing them is a violation of moral rights. [ABSTRACT FROM AUTHOR]

As many scholars of early modern musical theatre certainly know, a careful perusal of literature not specifically meant for music may at times hold pleasant surprises for the discerning musical scholar. This may be particularly rewarding in the study of the first decades of Venetian opera, when librettists were often also active as novelists and/or playwrights and were in any case affiliated to or personally acquainted with members of the most outspoken literary academy of the early seventeenth century, the 'Accademia degli Incogniti', itself very closely involved in the establishment of public opera. Moreover, as several studies have shown, the conception and production of early opera libretti can be better understood if analysed within the context of contemporary purely literary works. And sometimes, as I will try to show here, a literary work, in this case a theatre play, may both have provided inspiration for as well as have been inspired by musical drama. As I hope to demonstrate, the implication of these musico-literary interconnections is the partial disclosure of a tight network of cultural products of the period and the significant role therein played by Claudio Monteverdi's operas, not the least also in providing unconventional and alternative outlooks on gender and gender roles. [ABSTRACT FROM AUTHOR]

How did the rise of cinema affect authorship in Britain? This essay examines the question in relation to both new and established writers. Referring to manuals of authorship and fiction writing as well as to the archives of the Society of Authors, it places the rise of cinema after 1906 in the context of the wider "Americanization" of the British culture industry and illustrates the ways in which cinema drove changes to readerly expectation, advertising, and the marketing of literature. It also examines how the business of writing for the cinema came to be incorporated into the broadly professionalized concept of "authorship." In addition to drawing from the experiences of fiction writers including W. Somerset Maugham, E. Phillips Oppenheim, Elinor Glyn, Arnold Bennet, and Edgar Jepson, it also considers cinema authors, Herbert Langford Reed and Eliot Stannard, who sought to integrate screenwriting with the other disciplines traditionally described by the term authorship, widening our sense of what that category might mean. [ABSTRACT FROM AUTHOR]

The character is a complex combination of elements that represent the focal point around which the narrative discourse revolves. It is the backbone upon which the narrative relies. The concept of literary work is subject to the concept of action and event, and the character is a new construction undertaken more by the reader than by the text itself. The character in the novel is an important element around which events and narration revolve. It is the idea around which events are woven, serving as the mask that the novelist wears to perform roles in his work. It constitutes an effective element in driving the narrative event, and it is a paper person produced by the novelist to achieve some aesthetic goal. This novel utilizes a system that defines the concepts of character at its multiple levels. The diversity in the character of Azam Al-Abdullah within the narrative structure presents us with several levels to highlight this character from all aspects of life and to move the scene effectively, attracting the recipient through this diversity occurring among the levels of the novel, as the character is a new construction undertaken more by the reader than by the text. [ABSTRACT FROM AUTHOR]

For the eighteenth-century novel, to be "interesting" was a problem. Influenced by a cultural discourse that invested art with an imperative to suppress the dangers of excessive passion, some novelists and critics suggested that novels could achieve this by presenting exemplary characters within immersive plots that held readerly attention more effectively than non-narrative genres. At the same time, they took seriously the counterclaim that thrilling narratives obstructed readers' absorption of the salutary moral messages promoted by characters. I propose that novelists including Samuel Richardson, Ann Radcliffe, and Charlotte Smith innovated formal techniques that sought to neutralize the perceived dangers of plot in order to cultivate calm and reflective readerly dispositions. [ABSTRACT FROM AUTHOR]

An interview with Canadian novelist Andrew Davidson is presented. He describes the development of his writing career and the influence of his experience of living and teaching abroad on his writing. Davidson discusses the authors and musicians who have inspired him. He comments on the impact of the success of his novel "The Gargoyle" and on working in theatre.

The article examines the social themes in the works of Anthony Trollope, a prolific Victorian novelist known for his keen observations of human nature and social dynamics, emphasizing his portrayal of human frailty and the complexity of character. Topics discussed include Trollope's treatment of everyday morality, his nuanced depiction of flawed heroes, and his focus on the consequences of ethical dilemmas and human regret.

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arts for Linguistic & Literary Studies is the property of Thamar University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arts for Linguistic & Literary Studies is the property of Thamar University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Interdisciplinary Studies of Literature is the property of Interdisciplinary Studies of Literature Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Humanitas: International Journal of Social Sciences / Uluslararasi Sosyal Bilimler Dergisi is the property of Humanitas: International Journal of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

OVER THE last half-century; dozens of remarkable Catholic women writers have fallen almost entirely out of print. In their own time, their books were widely read, often bestsellers. Taken together, [...]

In this essay Mark Robson explores the works of two writers, one a philosopher and one a playwright and novelist, to think through contemporary stagings of the spatio-temporal relation 'between' theatre and philosophy. Bringing together Jean-Luc Nancy and Jon Fosse, Robson finds in Nancy's notions of sense, partage, co-appearance or 'comparution' a way of rethinking conventional explanations of the communal and political functions of theatre that resonates with the work of Fosse but also with that of French company the Théâtre du Radeau. Metaphor and imagination – and particularly a metaphorics of water – are related to different economies of the relation between speech and silence in Fosse, Nancy, Ludwig Wittgenstein and Jacques Derrida to ask: how can sense be made of the notion of staging presence in the light of deconstruction and the postdramatic? [ABSTRACT FROM AUTHOR]

This article considers how contemporary women’s writing manipulates the novel form in order to represent reading and its effects. I propose that specific novels represent a potential permeability of readers – a latent capacity for an ambiguous yet hyperbolic overwhelming or undoing through reading. Focusing on work by Barbara Trapido, a UK-based South African novelist, I argue that such keen effects of reading are represented through transgressions of narrative boundaries, which are in turn tied to acts of reading linked to sexuality and gender. In order to make these arguments, I draw on and develop Michael Lucey’s concept of ‘queer metalepsis’, which involves a blurring of narrative levels that results from modes of queer reading in and of literary texts. In my development of the concept, queer metalepsis not only raises questions of how writing can represent the impacts of reading, but also questions of how – as readers and as literary critics – we approach our own responses to texts. I consider the variously theorised ‘inappropriate’, ‘attached’, ‘bad’, or ‘too close’ acts of reading celebrated in queer literary criticism and query my own attachments to Trapido’s novels throughout my analysis. The article seeks, finally, to emphasise reading as connective, and argue for the value of generous, invested acts of interpretation. [ABSTRACT FROM AUTHOR]

Despite having received considerable attention from literary critics, the novels of La Violencia in Colombia (1946-1967) have been scarcely analyzed from counter-hegemonic theoretical-critical perspectives, such as decolonial thinking. One of the best-known novels of La Violencia period is “El Cristo de espaldas” (1952) by Eduardo Caballero Calderón. This article argues that the Colombian novelist incorporates in his novel the counter-hegemonic consciousness of some of his characters, in order to elucidate the neocolonial oppression as well as the causes of La Violencia phenomenon in Colombia. [ABSTRACT FROM AUTHOR]

Indo-Anglian Fictions, Particularly the fictions of the thirties, are immensely influenced by the ideals of Mahatma Gandhi, who fought for the cause of the under-privileged classes, the have-nots and the downtrodden, the marginalized and the defenseless. Apart from many other things these writers have mirrored the various incidents and happenings of the life and activities of Mahatma Gandhi in particular and the contemporary social and political, economic and religious upheavals in general. But their works, as we shall see, are not simply the collection of historical facts or events, they are highly literary saturated with poetic grandeur and artistic craftsmanship. Among the works dealing with the theme of either Gandhi or the contemporary freedom struggle are Mulk Raj Anand's Untouchable (1935), Raja Rao's Kanthapura (1938), K.S.Venkataramani's Kandan the Patriot (1932), D.F.Karaka's We Never Die (1944), Aamir Ali's Conflict (1947), Venu Chitali's In Transit (1950), K.A.Abbas's Inqilab (1955), R.K.Narayan's Waiting for the Mahatma (1956), Nayantara Sahgal's A Time to Be Happy (1955), and K.Nagarajan's Chronicles of Dekagram (1961). The present paper is a critical appraisal of the Gandhian attitudes and visions as employed in most of the writings of Indian novelists in English. [ABSTRACT FROM AUTHOR]

Lajos Kelemen not only founded schools but also nurtured them with his personality, beyond his knowledge. Due to his selfless desire to help, he was available to anyone dealing with Transylvanian subjects. Besides professionals, he willingly offered advice to novelists and playwrights to ensure their work’s historical background and plot were as authentic as possible. This is evident from the correspondence he had with László Passuth, a former Piarist student from Cluj. [ABSTRACT FROM AUTHOR]

The article presents an interview with Tina Morris talking about life and literary career. Topics include significant figure in the experimental poetry scene of the 1960s, co-editing Poetmeat and actively contributing to the Mimeograph Revolution; and influence from Beat poetry, her challenges as a female editor in a male-dominated field, and her ongoing work as a poet and young adult novelist.

This article seeks to revise the orthodox opinćions about Dickens as a "superficial" novelist who is unable to delve into the souls of his characters and depict their interiority. Since the introspective elements in Dickens are worthy of more attention than they have received, I critically dissect two passages in which Dickens dramatizes the mental operations of two criminals (Sikes and Fagin) at a moment of crisis in Oliver Twist. As I argue, the vigour and intensity of the novelist's portrayal of these characters' inwardness and mental activity draw heavily on eye imagery, its symbolic implications, and metaphors of seeing, which focuses all textual eyes together with the reader's eyes on the two malefactors. The internal focalizations of Sikes and Fagin deserve a particular critical interest because of their significant impact on the cultural afterlives of the novel, which this essay also discusses. [ABSTRACT FROM AUTHOR]

The article offers an interpretation of the earliest conceptual novel by the famous Russian novelist Vladimir Sorokin "The Queue" (1985). The authors of the article have implemented a new approach to the text of a modern conceptual novelist. If traditionally V. Sorokin's novel was perceived by critics mainly from the side of the originality of its form, with the actualization of the author's appeal to the pictorial art objects of conceptual artists (I. Kabakov, V. Pivovarov, D. Prigov et al.), then in this article a different research perspective is justified -- the need to look at the Sorokin text as a creative realization of a capacious speech metaphor, as the embodiment of the image of a "language monster" -- the hydro-like essence of a "living" queue. [ABSTRACT FROM AUTHOR]

This article discusses the impact of the Post-Impressionist Exhibition that Roger Fry organized in London in 1910 on Virginia Woolf's ideas on the novel. Her dissatisfaction with the state of the genre finds expression in her diary and in her criticism of the work of the Edwardian novelists. Jacob's Room (1922), her first truly experimental novel, deploys some of the painterly techniques that the post-impressionist painters and vanguard movements of the 1910s effected. It represents a decisive step in her search for a new form for a new novel. [ABSTRACT FROM AUTHOR]

In The Lives of Loréna (Les vies de Loréna, 2020), the Mauritian novelist Christine Duvergé chronicles the unraveling of her titular protagonist's seemingly ideal existence while weaving together a double critique of the global fashion industry and Trump-era conservatism in the American heartland. This article focuses on the novel's sociopolitical critiques, which find expression in expensive fashions and the abusive labor practices of the American overseas apparel industry. Described by Duvergé as a "subversive fairytale," the novel illuminates a transnational network of capitalist greed, which powers the global clothing chain in which Mauritius has served historically as a vital, if exploited, link. Duvergé humanizes the poverty and physical suffering of garment workers in Mauritius, foregrounding imbalances and interdependencies characterizing today's global apparel industry. As a North-South border-crossing narrative that integrates the protagonist's memories of her homeland into how she experiences life in the United States, The Lives of Loréna is a timely addition to contemporary Indian Ocean French-language literature, which is, as Françoise Lionnet and Emmanuel Bruno Jean-François have stated, "producing locally grounded writing with global ambitions." [ABSTRACT FROM AUTHOR]

HARDY WOMEN Mother, sisters, wives, muses PAULA BYRNE 656pp. William Collins. 25 [pounds sterling]. Throughout his life Thomas Hardy was gratified to receive fan mail from women who had been [...]

Doris Lessing celebrates the realist, committed novel and laments its absence in much of modern literature. Her theory of literature emanates from an understanding of good and evil and has an instructive function. Accordingly, she admires nineteenth-century realist novelists and commends their efforts to document and question unjust social practices. Based on Lessing's literary credo titled "The Small Personal Voice," in this paper I shall explicate her notion of literary commitment and regard it as a counter to literary aestheticism, relating her idea of committedness to her African past and evaluating her theory of art articulated in the essay from the Islamic viewpoint. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Alan Sharp, a Scottish writer, gained recognition for his first novel, A Green Tree in Gedde, which won an Arts Council Prize in 1965. Despite criticism of his portrayal of women as misogynistic, David Manderson argues that Sharp's female characters are unique individuals. Sharp later wrote scripts for Hollywood films during the "New Hollywood" era, reflecting the countercultural and turbulent nature of the time. Notably, his script for Ulzana's Raid questioned the invasion of a minority culture by a more powerful one. This article explores Sharp's films, including "Billy Two Hats," "The Last Run," and "Night Moves," highlighting his use of anti-heroes and exploration of masculinity. The author also mentions Sharp's novelization of "Night Moves" and his success in writing for American television dramas. The article concludes by praising Sharp's work as a valuable resource for future researchers and recognizing him as one of Scotland's finest writers. [Extracted from the article]

Copyright of Alustath is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on the modern image of the labyrinth-rhizome in Maylis de Kerangal’s novels. Basing on the analyses of Gilles Deleuze and Felix Guattari (introduction to Mille plateaux), we explain the characteristics of this strange labyrinth, always in recomposition, and show how it fascinates the novelist. In a second step, we take the example of the labyrinth model which appears in Réparer les vivants : we formulate the hypothesis that it could represent the operation of the Cristal computer application used by health professionals for the organ transplantation procedure. Thus, the labyrinth ceases to be a place of perdition, it can save lifes. [ABSTRACT FROM AUTHOR]

A conversation between acclaimed American short story writer and novelist Diane Cook and writer A. J. Ashworth, focusing in particular on the ecological elements in Cook's writing in her debut collection Man V. Nature. Cook also discusses the apocalyptic/post-apocalyptic in her fiction, writing about aftermaths, her own experiences with nature and the environment, as well as some of her influences. [ABSTRACT FROM AUTHOR]

In his recent publications, the Prix Goncourt-awarded Franco-Afghan novelist-artist Atiq Rahimi explores cross-cultural contemplations beyond linguistic signs. Across his bilingual calligraphies, inspired by European, Asian and African philosophies, Rahimi emphasizes the effects of war on marginalized groups beyond borders. In this interview, Rahimi allows insight into his lifelong practice of calligraphies. He comments not only on calligraphies published in L'Invité du miroir (Rahimi 2020) but also on callimorphies published in his latest piece Mehstî, chair des mots (Rahimi 2023), He further explicates the notion of translingualism and challenges the definition of 'exoticism' from his perspective as an artist in exile. [ABSTRACT FROM AUTHOR]

In his debut novel, Kamel Daoud retells the story of French novelist and philosopher Albert Camus's 1942 novel L'Étranger. Told from the vantage point of Harun, the brother of the nameless Arab killed in L'Étranger, Daoud's Meursault, contre-enquête (2013) is a complex tribute to the Nobel prize-winning author. This essay argues that Daoud's creative reworking of Albert Camus's classic lies in the way it reframes the question of postcolonial rewriting in terms of literary affiliation – a question of choice – rather than of filiation – a question of lineage and hierarchy. It then offers to reread the 'postcolonial remake' as an act of 'de-narration' – a creative act of revision – that enables Kamel Daoud to evade the stereotypical postcolonial readings of his novel. What is most ingenious in the narration of Meursault, contre-enquête is its constant reference to the performance of rewriting Camus's text not as a form of cultural reappropriation but as a metanarrative exposing its own story to the same critical scrutiny as he does Camus's. Even when literary and political problematics converge in Daoud's novel, they do not suggest the postcolonial tale of retribution. Rather, they elicit a new model of literary and social bond. [ABSTRACT FROM AUTHOR]

This article is concerned with the links between intelligence professionals and spy novelists in France. It focuses on the prolific, popular pulp writer Gérard de Villiers, and his numerous links with intelligence services. The prominence and significance of these are often overshadowed by his racist and misogynistic writing, and the trashy quality of his books. This article documents the multifaceted relationships between Gérard de Villiers and the covert world, from long-lasting friendships between top intelligence officials and the writer, to de Villiers' personal involvement in intelligence work as an honorable correspondant, for the SDECE and the DGSE. [ABSTRACT FROM AUTHOR]

The article explores the ethical choices made by Vietnamese novelists since 1986 and introduces the concept of "brain text" as the thoughts, ideas, and values expressed in their works. It argues that if a novelist's brain text has teaching value, their work contributes to truth, goodness, and beauty. The article analyzes the ethical choices of Vietnamese novelists and emphasizes the didactic function of contemporary novels. It also discusses the diverse themes in Vietnamese literature, including historical, war, rural, and urban novels, shaped by the unique perspectives and backgrounds of the authors. The article highlights the importance of literature in educating and guiding readers towards virtuous behavior and emphasizes the need for literature to combat negativity and maintain ethical order in society. It explores how Vietnamese novelists address ethical concerns and aim to cultivate human ethics in their works. The article acknowledges the lack of global recognition for Vietnamese writers but concludes that their ethical choices depend on the value and teaching function of their literary brain text. [Extracted from the article]

Roth, as we know, had many identities, but he was always a reader. This paper explores how literature helped him forge an identity, starting in adolescence, his book-besotted college years, and beyond. Like all great writers, Roth was a great reader, consuming novels, stories, and essays in great, gluttonous gulps. Roth read for many reasons, some banal, some surprising, but in a life of flux, books were a constant. They offered pleasure, stimulation, and distraction. In a way, Roth's longest, deepest relationship was with literature. What he read nourished what he wrote; indeed, Roth's books would have many blank pages if one removed the literary allusions. The intimate connection between the man, his reading, and his writing is what we'll explore--in several ways. First, through a discursive peek into Roth's vast library, donated to the Newark Public Library and carefully preserved per Roth's instructions. Second, by reading Roth's own testimony, in interviews, public events, and private correspondence. By way of context, we'll consider libraries--what they reveal, what they conceal--and the paradoxical nature of reading itself. Finally, we'll shine a bright biographical light on Roth himself. Using his reading as a lens, we'll explore periods of formation and transformation, including the late-life changes that produced his haunted (and haunting) final novels. Throughout our investigation, we'll attempt to answer a single question: how was Roth-the-reader different from the other Roths we've come to know. [ABSTRACT FROM AUTHOR]

Complex, historical events such as the Nigerian Civil War emerge from countless, partially converging causes. In order to make cognitive and emotional sense of such events, novelists, filmmakers, and other storytellers stress a limited number of such causes. One central source of the antagonisms driving the Nigerian Civil War was the operation of sub-national identity categorization. Adichie (in the original novel) and Bandele (in his film adaptation) both treat such categorization, but it is more systematically and consistently developed by the latter. This is closely connected with some of the key changes that Bandele undertakes in his adaptation. After a discussion of identity categorization, ethnocentrism, racism, and "tribalism," this article examines three key sections of the film in relation to identity categorization and their associated, political implications. [ABSTRACT FROM AUTHOR]