Edmundas Malūkas in the Literary Field: The Trajectory and the Strategies of a Popular Writer

Persian Literature and Modernity: Production and Reception

"Use of sources for popular historical novels, with special reference to Engela van Rooyen and Oswald Pirow"This paper focuses on the infl uence that an almost unknown Afrikaans novel, Mlungu Mungoma by Oswald Pirow, (published in 1949) had on aspects regarding characterisation and plot in the popular historical novel Vuur op die horison by Engela van Rooyen (2000). The connection between these two novels and the questions thatare raised concerning certain characteristics of the historical novel – more specifically the popular historical novel as opposed to clearly postmodern novels – is investigated. The principal problem statement is the following: in what way or ways do authors of popular historical novels (and in this instance Van Rooyen in particular) give recognition to and admit indebtedness to a text or texts that were used as sources – either as sources of inspiration (which is the case here) or for the historical presentation of the novel? Questions that the author addresses are the following:- What is the nature of the historical novel – how can it be characterised and distinguished from other kinds of fi ction?- Does the popular novel show an awareness of the complex relation between historiography and fi ction?- Is there an existing convention regarding the use and recognition of sources in the (late twentieth, early twenty fi rst century) popular historical novel?The author argues that the delicate balance between text and source should perhaps be admitted by authors of popular novels, even though the self-conscious way in which postmodern fiction approaches this relationship is absent from typical popular fiction discourse.

In recent decades, literary critics have become increasingly interested in the ways that contemporary historical novels are used to write “history from below.” In On Lies, Secrets, and Silence (1978), Adrienne Rich describes a process she calls “re-visioning,” a process that is defined as “looking back, of seeing with fresh eyes, of entering an old text from a new critical direction” (35). Many female authors of contemporary historical novels engage in exactly this process, looking back in time and reinserting the histories of women into the dominant narrative of history in which they are often excluded or marginalized. Novelists like Philippa Gregory, Diana Gabaldon, and Tracy Chevalier have made feminist politics clearly visible in their bestselling historical novels. And yet, for all their potential and visible disruptions of patriarchal ideology, many of these popular novels also make use of literary archetypes, tropes, and narrative patterns that reinstate hegemonic ideologies about individual identity and social structure. Using Philippa Gregory’s The Other Boleyn Girl (2001) as a case study, this paper argues that popular women’s historical novels often exist in tension between the pulls of revisionary feminist historiography and the popular romance narrative.

Forgotten Writers, Neglected Histories:Charles Reade and the Nineteenth-Century Transformation of the British Literary Field Mary Poovey During the second half of the nineteenth century, the lineaments of what Pierre Bourdieu has called the modern literary field were established in Britain, as they were in France.1 In Britain, the modern literary field was constituted by a number of developments that transformed its Victorian predecessor. These developments included the resolution of a debate about whether contributors to various kinds of periodicals should continue to publish their articles anonymously; the adoption of laws about how to define and protect literary property; and the adjudication of economic issues, like how writers should be compensated and who should determine the format and price of new works. By 1900, all of these matters had been addressed, and the literary field with which we are all familiar had begun to take shape: most periodical articles were signed; both domestic and international copyright laws had been adopted; the commission and half-pay systems of compensation had been replaced by a more equitable sharing of literary royalties; and the influence of the circulating libraries, as exemplified by the dominance of the triple-decker novel and prohibitively high book prices, was no more. One additional issue had to be resolved before the literary field assumed its modern form. This issue, made more urgent by the dramatic increase in the number and kinds of printed materials after mid century, involved the evaluation and, ultimately, the definition of "literature." After the repeal of the taxes on knowledge in the 1850s, numerous daily, weekly, and monthly periodicals rushed into print; their numbers were swelled by countless publications that were even more ephemeral and less expensive.2 In the face of this print avalanche, it began to seem imperative to decide a number of related questions: Who would be entrusted to discriminate good writing from bad? Who would establish the terms by which literary value would be assigned? And how would the groups who vied for this task [End Page 433] establish their authority in relation to the debates about signature, copyright, and the business of publishing that were already transforming the literary field? By the end of the nineteenth century, these questions about evaluation had also begun to be answered: literary reviewers, long reviled as malicious and self-serving quill-drivers, were casting aside the constraints of professional journalism and gaining cultural respect by assuming the evaluative and analytic functions performed today by academic literary critics. They were making these judgments, moreover, according to terms narrowly defined as "artistic," or what we would call aesthetic. In this essay, I explore part of the process by which this aspect of the modern literary field was stabilized. Instead of looking at literary reviewing in general, however, I focus my remarks on the antagonism that festered between one novelist and his reviewers. I do so for three reasons. First, this novelist, whose name is Charles Reade, actively participated in all of the cultural contests I have just described. Second, the enormous popularity Reade enjoyed among readers throughout the English-speaking world, as measured in book sales, specifically opposed a market definition of literary "value," adjudicated by the "public," to other definitions of value, which derived their terms from the complex imperatives of professional journalists, periodical editors, and the titans of the circulating libraries. And third, it was in the debates about what reviewers called Reade's "realism" that journalists elevated the aesthetic criteria that ultimately came to dominate literary standards and thus to ground the role of criticism within the modern literary field. Among the many effects of the gradual consolidation of this field was one that has been left out of the histories of our discipline: paradoxically, the stabilization of the modern literary field was intimately, but complexly, linked to the exile of writers like Reade from the literary canon. Let me say a few words about Reade before I describe Britain's literary field at mid century. Reade, who was born in 1814, published seventeen novels and more than two dozen plays during his lifetime. He began his writing career as a dramatist, but he galvanized his contemporaries' attention with his...

Born in Lucca 1858, Giacomo Puccini worked for years to reach the top of his profession. By 1900, Puccini was already the most popular opera composer in the world. At the height of success after other operas, such as Manon Lescaut, La Boheme and Tosca, Puccini settled on a play he had seen in London on 21st June, 1900 - the first British production of Madame Butterfly by American impresario David Belasco, based on the one-act dramatization of John Luther Long's short story, with the famous actress Blanche Bates in the title role. Although the composer understood almost no English, he instinctively felt the appeal of the story. As Puccini later described it, the effect on him was like pouring gasoline on an open fire. Even though he immediately applied to Belasco, it took time to secure the rights to the play, as well as for his librettists, Illica and Giacosa, to fashion a text. In fact, the negotiations with Belasco over rights to the drama dragged on into September 1901, when the anxious composer pressed Illica to begin Madama Butterfly using a translation of Long's short story. Madama Butterfly is indeed by far the best known opera by Puccini. In fact, multiple versions of the 'Madame Butterfly' story exist (both in literary form and in staged and filmed versions), particularly via the following works: the French novel Madame Chrysantheme of 1887 by Pierre Loti, in addition to the tale Madame Butterfly by the American writer John Luther Long, which appeared in the Century Magazine of January 1898. According to Dr. Sandra K. Davis - Butterfly's faith is based on two wrong assumptions -- unconditional love for a man whom she trusts, and for whom she sacrifices all aspects of her previous life and culture, and her faith in that man's culture, her 'American dream'. The opera's most prominent musical themes, powerfully echoed at dramatic peaks, cluster about these central tragic choices. The 'cosmic collusion' of fate, represented most often in authentic Japanese musical themes, challenges her faith throughout the opera. Because Butterfly shares her hamartia with countless women and men throughout history, audiences are drawn deeply into empathy with her situation. But because her voice and melodic contours in Puccini's orchestral context make her powerful, she becomes an iconic tragic figure of the theater. Since the mid-nineteenth century, the story of 'Madame Butterfly' has been an enduring cultural trope. Although it is not the first tale of 'the soldier and the exotic', the fundamental issues of race, gender, and imperialism intertwined in Puccini's popular opera setting have stimulated its continuing representation in popular literature, theater, films, and music, in addition to more formal historical, political, social, and cultural studies, and so on. This paper aims to examine the literary, historical and musical currents that shaped Puccini's Madama Butterfly, as well as the images of Japanese women in other Western arts forms and literature. This paper also includes transcripts of interviews with an internationally acclaimed Chinese soprano, Ms. Ella Kiang, sharing her thoughts about her interpretations and understanding of the opera Madama Butterfly.

In 1839, having failed to secure a job as a surveyor on Erie Canal Project, and concerned over his mother's indebtedness, twenty-year old Melville wrote from a Writing Desk, which were published anonymously in his hometown newspaper, Democratic Press of Lansingburgh, New York. Fragments represent Melville's first literary productions. Of two Fragments, second one particularly shows satiric bent that would remain a dominant mode of Melville's creative temper throughout his career as a writer of fiction. 2 constitutes Melville's first short story, literary form he would not return to again until late in his writing career. Interestingly, Melville even uses diptych form in writing of his Fragments, a device that will prove to be a favorite in his later stories like The Two Temples, Poor Man's Pudding and Rich Man's Crumbs, and The Paradise of Bachelors and Tartarus of Maids. In 2, he continues satire of idealization of women in popular romantic fiction begun, and put in contrasting perspective, by 1, absurdly saccharine and lace-edged female portraits of 1 evolve in 2 into a mysterious lady who, much to narrator-hero's chagrin, turns out to be deaf and dumb. In his Historical Note to Volume IX of Northwestern-Newberry edition of Melville's works, Merton M. Sealts, Jr. calls attention to major critical problem in regard to 2: commentators disagre...about its intended tone.(1) Confusion over tone, of course, signals confusion over intention and meaning. reader can take piece in deep seriousness of William H. Gilman's suggestion that work is an early version of what will become a favorite Melvillian theme: the concept that pursuit of ideal is foredoomed to disillusion and defeat.(2) Conversely, one can view ironic reversal of work's ending as an example, in Leon Howard's words, of crude humor, which in turn makes of Fragment a hoax.(3) Sealts' solution is to accept subject matter of work and its handling by Melville as simply relevatory of youthful Melville's not being up to depicting a romantic fulfillment beyond scope of his own experience or powers of his limited narrative skill.(4) If, however, 2 is read as a parody, Melville's intention and execution become more satisfying. Critics like Gilman have recognized in 2 Melville's general satirical...treatment of romance,(5) but have probably taken piece too seriously for it to reveal its true satiric focus. 2 is essentially comic satire. In writing it, Melville could have had in mind any of a number of Poe's tales and perhaps even poems, but Ligeia seems to be focal point of satire. He could have easily read story in his Uncle Peter Gansevoort's library, at Albany Young Men's Association, or in many other places open to an intellectually energetic young man with a budding interest in authorship. Poe was not to his contemporaries genius he has come to be for many twentieth-century readers, and to a young man like Melville Ligeia could be readily and understandably viewed not only as popular literature (which, of course, it was) but as a tempting target for literary satire. It is hard to believe that Melville did not have Poe's story in mind or, more likely, at hand as he wrote description of his mysterious heroine's apartment and its occupant. In content and style it mimics Poe: apartment we now entered, was filled up in a style of Eastern splendor, and its atmosphere was redolent of most delicious perfumes. walls were hung round with most elegant draperies, waving in graceful folds, on which were delineated scenes of Arcadian beauty. floor was covered with a carpet of finest texture, in which were wrought with exquisite skill most striking events in ancient mythology. …

이 글은 김내성의 첫 장편소설이자 추리소설인 『마인魔人』(1939)이 당대 독자들에게 높은 인기를 얻었던 요인을 다각도로 분석하는 것을 목적으로 한다. 추리소설의 불모지였던 한국 문단에서 『마인』의 인기는 이례적인 일이었다. 추리소설은 번안물/번역물정도가 전부였던 당시에 김내성은 말그대로 추리소설을‘개척한’작가이다. 그러나 김내성은 1940년대 이후 여러 편의 대중소설을 창작해 높은 인기를 구가하였고 그의 작품들은 라디오와 텔레비전 드라마, 영화로도 각색되어 한국 대중문화 전반에 적지 않은 영향을 미쳤다. 이러한 김내성의 문학 이력 전체를 고려한다면, 그를‘한국 추리소설의 대명사’로만 지칭하는 것은 그가 이룬 성과들을 오히려 한정하는 것이다. 이는 또한 『마인』의 성공 요인을 ‘대중문학’의 관점으로 접근할 것을 재고한다. 실제로 ‘추리 요소의 부재’를 한계로 지적받는 『마인』을 완성도 높은 장르문학으로 보기는 어렵기 때문이다. 그리고 『마인魔人』이 내재한 대중적 요소들에는 ‘광의의/방계적/변격적인’ 추리소설을 지향한 작가의 소설관,‘ 통속성’이 아닌 ‘대중성’을 강조한 작가의 문학관이 반영되었다 할 것이다.이에 본고는 『마인』의 대중적 성공이 크게 세 가지 요소에서 기인하는 것으로 분석하였다. 첫 번째는 주인공인 탐정 유불란의 성격이다. 유불란은 논리보다는 직관에 의존하고, 사건을 해결할 때는 한 발 늦거나 잘못된 예측을 내놓는 문제적인 탐정이다. 유불란은 결코 유능한 탐정이 아니다. 그러나 유불란이 보여주는 어리숙함과 헛점들은 『마인』에 ‘유머’를 부여한다. 종종 발생하는 유머러스한 상황들이 유불란의 이러한 성격으로 인해 작품에 자연스럽게 제시될 수 있는 것이다. 두 번째는 멜로드라마적인 요소와 이의 배경이 되는 도시 경성이다. 작품 인물들의 거개가 연애의 삼각 구도를 형성하고 있고 이들의 관계는 ‘가상의 도시’경성에서 펼쳐진다. 『마인』 속의 경성은 당시에 실제하지는 않았으나. 외국영화들을 통해 대중들에게는 익숙한 화려함과 역동성을 지닌 도시이다. 그렇기에 대중들에게 낯익되 낯선 경성의 풍경은 극장 체험에 버금가는 흥미를 선사할 수 있었다. 세 번째는 작품 속에 숨어 있는 ‘필자’의 목소리이다. 이 역시 극장의 ‘변사’와 같은 역할을 하며 독자에게 인물의 감정이나 배경을 생생하게 전달하는 기능을 수행한다. 필자의 목소리는 여기에서 그치지 않고 독자와 직접 소통하며 서사와 사건의 진행을 입체적으로 전달한다.살펴보았듯, 김내성의 『마인』은 추리소설로서의 완성도를 성공의 척도로 보기는 어려운 소설이다. 그러나 탁월한 감각을 지닌 대중문학 작가로서의 김내성은 추리소설인 『마인』에 ‘유머소설’, ‘연애소설, 대중문화의 첨병인 영화적 요소를 녹여내여 대중들의 뜨거운 호응을 이끌어 내었다.

Xu Xu and Wumingshi were among the most widely read authors in China during and after the Second Sino-Japanese War (1937–1945). Despite being an integral part of the Chinese literary scene, their bestselling fiction has, however, been given scant attention in histories of Chinese writing. This book is the first extensive study of Xu Xu and Wumingshi in English or any other Western language and it re-establishes their importance within the popular Chinese literature of the 1940s. Their romantic novels and short stories were often set abroad and featured a wide range of stereotypes, from pirates, spies and patriotic soldiers to ghosts, spirits and exotic women who confounded the mostly cosmopolitan male protagonists. Christopher Rosenmeier’s detailed analysis of these popular novels and short stories shows that such romances broke new ground by incorporating and adapting narrative techniques and themes from the Shanghai modernist writers of the 1930s, notably Shi Zhecun and Mu Shiying. The study thereby contests the view that modernism had little lasting impact on Chinese fiction, and it demonstrates that the popular literature of the 1940s was more innovative than usually imagined, with authors, such as those studied here, successfully crossing the boundaries between the popular and the elite, as well as between romanticism and modernism, in their bestselling works.

ABSTRACT: In studying related to the aspects of historical novel, the literature experts classified all of the historical novel into three main categories, namely: propaganda, education, and escapism. This classification is not based on aesthetic considerations, but on the issue of historical truth. Accordingly, the first and third classifications mislead or ignore the historical truth, while the second classification abuses the novel media. Propaganda historical novels generally have political or religious motives, educational historical novels aims to provide factual information to the reader, and escapism historical novels are largely intended to provide entertainment. Meanwhile, other literature experts divided the historical novel into two categories, namely: traditional historical novels and post-modernist historical novels. The traditional historical novel reached its peak popularity in the 19 th century, and is often used as material for study by the critics at the time. A general characteristic of this novel, which is also regarded as a weakness, is often to incorporate elements of romantic love in addition to elements of history. Meanwhile, post-modernists’ historical novels reject such forms. Based on the classification, this article attempts to examine the historical novels in Arabic literature and how they are categorized. Historical novels which are used as the case studies in this article are the works of historical novels by Jurji Zaydan (1861), Naguib Mahfouz (1911), and Gamal al-Ghitani (1945). KEY WORDS: Historical novel, Arabic literature, category and classification, historical truth, the works of Jurji Zaydan, Naguib Mahfouz, and Gamal al-Ghitani. About the Author: Dr. Maman Lesmana is a Senior Lecturer at the Arabic Language Department, Faculty of Humanities UI (University of Indonesia), UI Campus Depok, West Java, Indonesia. For academic purposes, he can be contacted via e-mail at: malessutiasumarga@yahoo.com How to cite this article? Lesmana, Maman. (2014). “Learning History from Novel: A Case Study in Arabic Literature” in TAWARIKH: International Journal for Historical Studies , Vol.6(1) October, pp.83-92. Bandung, Indonesia: Minda Masagi Press and UNHAS Makassar, ISSN 2085-0980. Chronicle of the article: Accepted (January 11, 2014); Revised (May 20, 2014); and Published (October 28, 2014).

李昂在台灣當代文學的重要性，由目前相關的學術論文累積可見一斑，並且大多數的研究焦點都是集中在文本的內緣分析。相形之下，將李昂放在台灣當代文學場域裡進行文學主客體之間的互動性觀察，顯得較為缺乏。1978年李昂自美返台後，她開始以另一種更自覺而且鮮明的作家形象再次進入文學場域，在此中開闢出某個既應合社會時代又具備個人特殊性的美學位置。李昂在八○年代的文學定位，不僅銜繼了她早期的寫作軌跡，更是決定她在九○年代愈形多變的文學表現的關鍵。因此，這篇論文以李昂在八○年代的文學活動為研究核心，藉助布迪厄（Pierre Bourdieu）分析文化生產的幾個啟發性概念：文學場域、習性、資本、位置、佔位、區隔等等，來輔助思考作家與文學場域之間的相互作用。討論重點集中在下列幾個問題：八○年代初出現的快速轉變的政治社會環境以及新興的文化生產條件，對文學場域造成哪些結構性的影響？如何觀察李昂在八○年代文學場域裡的定位過程？作家的文學習性、資本數量如何決定她在場域中的位置？象徵地位如何取得？將李昂放置在八○年代的文學場域內來思考，對於我們較全面而宏觀地掌握李昂近30年來的文學活動，應該是個重要且必要的起點。

Reception processes are not directly observable, but become manifest in a wide variety of forms: in the selection and transformation of the works, the attention given to them by publishers, reviewers, essayists and academics, the reactions of the buying and reading public, their modes of entry into cultural discourse, their inclusion in literary histories and schoolbooks, their intertextual and intermedial transmission, and in their infl uence on poetics and even on social thought. Underlying such appearances are prevailing and competing judgements, preferences, norms and interests held by circles of actors and institutions in the literary fi eld. Since the beginnings of modern reception theory in Russian Formalism and Czech Structuralism, the notion of such a literary fi eld or system has become connected to social mechanisms at large. Jan Mukar“ovsky ; (1974) and Felix Vodic “ka (1975) gave examples of how literary norms and values that constitute ‘taste’ refl ect social segmentation and stratifi cation, and how changes in society lead to shifts in cultural products and their valorisation. Although some theorists like Siegfried J. Schmidt and Pierre Bourdieu have argued that the (modern) literary fi eld is an autonomous system, mainly independent of social, political, and economic constraints and governed by its own aesthetic conventions, others assume that it exists under heteronomic conditions. Bourdieu’s own work offers a counter-example showing that social mechanisms such as the drive for recognition and prestige govern social behaviour in every domain of society including the cultural as well. A model which in principle includes the heteronomic conditions and is fl exible enough to integrate different social factors in the descrip-

This paper discusses how Pierre Bourdieu’s framework of field, habitus and capital can help to conceptualise creative writing practice. Using the work-in-progress of one of the authors (Gonsalves) as a case study, this paper shows that writing is a direct result of the interaction between the literary field and the writer’s habitus. Notions of what is creative in writing practice have been influenced by the literary field, which in turn has shaped the habitus. The paper describes how these forces partly shape the selection of ideas and words, the creation of sentences, characters and plot, and the process of editing and rewriting.

The common concept of karma and retribution in the general religious life of Chinese society was not only expressed in the popular literature that has flourished since the Song dynasty, but also reacted to society through the processing, refining, and deepening of popular fiction. Popular novels from the 16th to 18th centuries synchronized with the fresh ideas of New Chan Buddhism, New Daoism, and New Confucianism, which gradually developed an ethos and karma model. It used real life as a metaphor for explaining cause and effect in the construction of new business and social ethics that were urgently needed at the time. The business ethics it reflected and constructed not only included the affirmation of business and the advocacy of hard work to obtain wealth and promote fair competition, but also criticized blindly pursuing profits, especially emphasizing that wealth was determined by destiny and could not be forced. The core of the new social ethics was to establish rules connecting traditional morality and becoming rich, which not only stressed that scholars, farmers, craftsmen, and businessmen should do their parts, but also always put scholarly study as the highest pursuit; while criticizing social injustice, people still strongly desired to pass the imperial examination. This paper examines the great social changes that were occurring in the Ming dynasty, especially in the areas of business ethics and the perception of wealth, through popular literature from Ming China.

Popular literature is become a growing phenomenon in the world of literature, it’s making popular literature one of the literary studies. There are several types of literary works that can be categorized as popular literature. Novels are one type of literary work that is favored by many people. A novel can be categorized as a popular novel if there are many readers who buy the novel to read it. One of the popular novels is a novel entitled Twilight by Stephenie Mayer which is a romance genre. The Twilight novel is one of the novels that has a world best seller label, this means that the novel is favored by many people. Therefore, this study discusses the romance formula contained in the Twilight novel. Thus, formulaic literary theory was used in the study. The theory used is the theory of John G. Cawelti. According to Cawelti, the conventional patterns play an important role in the popularity of a literary work. Therefore, the analysis of formulas in a literary work can prove why the work is popular. The type of this research used is descriptive and the method used is qualitative method. This research resulted in the Twilight novel having a formulaic type like what Cawelti expressed: the presence of heroes and heroins, the hero is portrayed as perfect, heroin characters are portrayed as ordinary, and have a happy ending. The conclusion obtained from this study is that the romance formulas in the Twilight novels affect the popularity of the novel.

As a form of concern for women, especially in the literary field, researchers are interested in analyzing the short story entitled One Day in December 2002 by Sapardi Djoko Damono and the short story Fairy Tale Before Sleeping by Eka Kurniawan. This study aims to reveal the image of women in the short story One Day in December 2002 by Sapardi Djoko Damono and the short story Fairy Tale Before Sleeping by Eka Kurniawan. To support this research, the researcher conducted a structural analysis to find supporting data in revealing the image of women in the short story. The approach in this research is a liberal feminist approach. The results of this study are, 1) The short stories One Day in December 2002 and the Fairy Tale Before Bercita have the theme of problems that occur in domestic life, but there are differences in the two short stories which are the source of the problem. 2) The setting in both short stories takes the background of a husband and wife's life, the difference between the two short stories is the age of their marriage. 3) The characters and characterizations in the two short stories are divided into two, namely the main character and the supporting character. The main character in the short story One Day in December 2002 is Marsiyam and the main character in the short story Fairy Tale Before Making Love is Alamanda. 4) the image of women who dominate men is depicted through the activities or treatment carried out by the female characters. 5) the image of a woman who is smart and clever is depicted through the mindset of the female character. In the builders of the two short stories, One Day in December 2002 and the Fairy Tale Before Making Love, they are the theme, setting, and characterizations. Furthermore, the image of women that breaks the objectivity of women in the poems One Day in December 2002 and the Fairy Tale Before Making Love, namely, the image of women who dominate men and the image of women who are smart and intelligent. Keywords : image, women, feminism