К вопросу о некоторых лингвостилистических особенностях жанра "faction"

Определено понятие "non-fiction"("faction"). На примере романа Т. Капоте "Хладнокровное убийство" проведен анализ некоторых лингвостилистических особенностей жанра factionyesТульский государственный педагогический университет им. Л.Н. Толстог

A walker’s guide to littered landscapes: an exploration of interdisciplinary, imaginative and collaborative modes of attention

© 2019, © 2019 ASLE-UKI. This article is an exploration of the possibilities of interdisciplinary, imaginative and collaborative methodologies in generating understandings of the affective nature of litter in everyday life. It is a critical intervention into the current proliferation of ‘solution-focused’ academic waste studies, asserting that it is essential to attend to the complex intersectionality of the subject and to develop new understandings through the use of innovative methodologies. The article is structured around two inter-related sections. The first consists of six performative texts in the manner of an instructive guidebook, interspersed with visual and literary forms of investigation: a series of photographs, a poem and a broadside publication. The second is a reflection on the various modes of attention that informed the research: it functions as a field guide to the potential of interdisciplinary, imaginative and collaborative methodologies for revealing new ways of thinking about relationships to place, people and materiality

«И тогда мы услышали гром» Дж. О. Килленса: афроамериканский армейский роман о достоинстве

В статье уточняются мотивы романа Дж. О. Килленса «И тогда мы услышали гром», которые типологически роднят его с американским армейским романом о Второй мировой войне, раскрывается его идейнохудожественная самобытность, обусловленная его принадлежностью к афроамериканской литературе. Методологической основой статьи послужили идеи А. А. Гугнина о том, что художественное произведение можно понять, только если учитывать историко-контекстуальные измерения, в которых оно родилось, идеи М. Бахтина о романе-становлении и выводы Г. Л. Гейтса о том, что образ трикстера является ключевым в африканском и афроамериканском фольклоре, в африканской и афроамериканской литературах.Taking up the theorizations, firstly, of Alexander Gugnin on the significance of examining a literary work within its historical and contextual dimensions and, secondly, of Mikhail Bakhtin on the Bildungsroman, the paper clarifies the motifs that genetically relate J. O. Killens’ And Then We Heard The Thunder to the American army novel. At the same time, the paper traces the African American literary tradition in the themes and the structure of the novel. The paper also refers to the ideas of Henry Louis Gates, Jr. that the trickster is a key image in African and African American folklore, as well as in African and African American literatures

Stonehill Alumni Magazine Summer 1988

This issue of the magazine includes the following features: Commencement 1988: Four hundred eighty-three seniors received their baccalaureate degrees at the College\u27s 37th Commencement exercises. The Class of \u2788 holds the distinction of having among its number the 10,000th graduate of Stonehill. Reunion Weekend Highlights More than 500 members of the anniversary Classes of 1953, 1958, 1963, 1968, 1973, 1978, and 1983 were reunited at this annual alumni event on campus. Inflating Souls with Hot Air Does Not Make Them Full: A review of Allan Bloom\u27s The Closing of the American Mind. Professor Finnegan reviews this bestselling controversial critique of American higher education. Writing Flourishes Across the Curriculum: Students from all disciplines are developing writing as a learning tool throughout their College Curriculum. All-American at Stonehill: Mary Naughton, a senior this fall, is the first Stonehill woman ever to be chosen a first team All-American. New Construction at Stonehill: The construction of three new buildings on campus-a dormitory, an athletic complex, and the Martin Institute-will bring many new options and opportunities to campus life at Stonehill.https://soar.stonehill.edu/alumnimagazine/1008/thumbnail.jp

Storytelling, Survival, and Child Figures in Contemporary American Life-Writing

My dissertation explores strategies for survival primarily related to acts of storytelling, and more specifically storytelling with the tacit agreement for measures of truth, what I refer to in my title as life-writing. The term life-writing refers broadly to literary and theatrical works that are connected to the lived-experience. The texts I examine, all written in the U.S. after 1990, consider the impact of traumatic and unjust pasts through sweeping, epic narratives. Each of these texts tells a separate story about injustice through stories that reveal children as victims of discursive and/or actual violence arising out of conflict between and within institutional and family identities. Instead of viewing these texts as isolated and unrelated, my dissertation places these stories in conversation with one another to ask what we can learn about the child and survival. Childhood in these texts is an act of performative grieving, mourning the loss of a self that either never was or a self that was lost quickly to experiencing or witnessing trauma.;I argue that Gerald Vizenor\u27s term survivance offers a perspective for understanding these survival stories as active resistance to make a cultural analysis that focuses on narrative devices and patterns. Breaks in the written story or theatrical performance testify to experiences that threaten the stability of a single narrative about the child or family, while demonstrating survivalist strategies for understanding family as a source of pain and strength. In my dissertation I am closing in on the power of testimony and witnessing as means for recovering the voice and perspective of the child. My definition of the child begins with what I understand as the child figure. The child figure is a written self accessed through memories and experiences of a childhood used to represent an emotional past. The child figure frequently signals loss or a sense of absence. As a link between survival and presence, survivance provides a way to name the feel of these stories, an assertion of persistence and hope from within stories riven by violence

Narcissus revisited: Norman Mailer and the twentieth century avant-garde

This thesis examines the American novelist Norman Mailer’s relationship to the 20th century avant-garde. Mailer is often remembered as a pioneer in the new documentary modes of subjective non-fiction of the sixties. Looking beyond the decade’s themes of fact and fiction, this thesis opens up Mailer’s aesthetics in general to other areas of historical and theoretical enquiry, primarily art history and psychoanalysis. In doing so, it argues that Mailer’s work represents a thoroughgoing aesthetic and political response to modernism in the arts, a response that in turn fuels a critical opposition to postmodern aesthetics. Two key ideas are explored here. The first is narcissism. In the sixties, Mailer was an avatar of what Christopher Lasch called the “culture of narcissism”. The self-advertising non-fiction was related to an emerging postmodern self-consciousness in the novel. Yet the myth of Narcissus has a longer history in the story of modernist aesthetics. Starting with the concept’s early articulation by Freudian psychoanalysis, this thesis argues that narcissism was for Mailer central to human subjectivity in the 20th century. It was also a defining trait of technological modernity in the wake of the atom bomb and the Holocaust. Mailer, then, wasn’t just concerned with the aesthetics of narcissism: he was also deeply concerned with its ethics. Its logic is key to almost every major theme of his work: technology, war, fascist charisma, sexuality, masculinity, criminality, politics, art, media and fame. This thesis will also examine how narcissism was related for Mailer to themes of trauma, violence, facing and recognition. The second idea that informs this thesis is the theoretical question of “the real”. A later generation of postmodernists thought that Mailer’s initially radical work was excessively grounded in documentary and traditional literary realism. Yet while the question of realism was central for Mailer, he approached this question from a modernist standpoint. He identified with the modernist perspectivism of Picasso and his eclectic “attacks on reality”, and brought this modernist humanism to a critical analysis of postmodernism. The postwar (and ongoing) debates about postmodern and realism in the novel connect in Mailer, I argue, to what Hal Foster calls the “return of the real” in the 20th century avant-garde. This thesis also links Mailer to psychoanalytical views on trauma and violence; anti-idealist philosophy in Bataille and Adorno; and later postmodern art historical engagements with realism and simulation. Mailer’s view was that a hunger for the real was an effect of a desensitising (post)modernity. While the key decade is the sixties, the study begins in 1948 with Mailer’s first novel The Naked and the Dead, and ends at the height of the postmodern eighties. Drawing on a range of postmodern theory, this thesis argues that Mailer’s fiction sought to confront postmodern reality without ceding to the absurdity of the postmodern novel. The thesis also traces Mailer’s relationship to a range of contemporary art and visual culture, including Pop Art (and Warhol in particular), and avant-garde and postmodern cinema. This study also draws on a broad range of psychoanalytical, feminist and cultural theory to explore Mailer’s often troubled relationship to narcissism, masculinity and sexuality. The thesis engages a complex history of feminist perspectives on Mailer, and argues that while feminist critique remains necessary for a reading of his work, it is not sufficient to account for his restless exploration of masculinity as a subject. In chapter 7, the thesis also discusses Mailer’s much-criticised romantic fascination with black culture in the context of postcolonial politics

Narrative triage: Veterans, disability, race, and the popular fiction of the Cold War

This dissertation argues that there are a series of disability narratives embedded James Jones, Norman Mailer, and John Oliver Killens’ novels that undermine the cultural myths revolving around soldiers’ bodies. Following the Attack on Pearl Harbor, President Franklin Delano Roosevelt called on Hollywood to keep the public abreast of the nation’s war efforts. The Office of War Information was established in 1942 to assist with this task. What was intended to be an objective office that reported honestly on the complex issues of the war, however, became something more controversial. Under military and government pressure, the OWI implemented a series of stipulations that ensured the U.S. Armed Forces and its operations were favorably portrayed in motion pictures. As a result, the public consumed curated representations of the war that mythologized their understanding of soldiers’ experiences, including what happens to their bodies in combat. In what I term narrative triage, Hollywood films aesthetically rehabilitated representations of war wounds for the sake of mobilizing support. In some cases, these representations symbolized heroism, appealing to the audience’s patriotism. Other times, they reinforced the racial stratification of a pre-civil rights America, as Black GIs’ injuries signified their inferiority. Elsewhere, they were restored through medical treatments, easing viewers’ anxieties over the long-term effects of war wounds. And, above all, they were rewarded with medals, women, and job promotions, leading audiences to believe that wounded soldiers may struggle as a result of their injuries, but would nevertheless find optimistic endings.The war fiction by James Jones, Norman Mailer, and John Oliver Killens, as the chapters of this dissertation examine, undermine such Hollywood myths. As I will show, the writers’ representations of service-related disabilities serve as embodied experiences that impact the characters’ social, gendered, racial, and military identities. They accomplish these portraits for two reasons. First, each served in the U.S. Army during the SWW, witnessing firsthand—and in some cases experiencing—the somatic and traumatic damage that occurred during the political conflict. Second, the writers were not held to the same OWI stipulations as the film industry. By resisting narrative triage and relying on their ethos, then, the veterans portray war wounds in ways that draw attention to the military’s complex relationship with the body, uncover the self-serving aspects of military medicine, question the efficacy of postwar remasculinization, and expose the physical ramifications of a segregated Jim Crow Army. Framed with recent disability scholarship and historical accounts, my dissertation suggests their novels challenge cultural memories of the war and its material effects on the men who served, and do so at a critical moment in the nation’s history. While the U.S. increasingly relied on cultural productions to fortify its image during the Cold War, the veteran writers’ work collectively posits the nation was not as inviolable as it seemed