這叫"只"考九題嗎?
以下是我準備19世紀到現代world Literature期末考的筆記
一堆主義,學說,加上22個小說,弄得我暈頭轉向
所以我盡量濃縮,盡量用沒負擔,簡單的字來表達,免得考試時單字拼不出來
上回17,18世紀的期中考,我居然命中兩題
雖然猜中率偏低,但這是一個逼自己從新溫習一次的好方法
上回17,18世紀的期中考,我居然命中兩題
雖然猜中率偏低,但這是一個逼自己從新溫習一次的好方法
Existentialism
(Adapted from Karen Bernardo)
Man has complete freedom to determine his own fate. The actions he chooses in fact determine his existence.
Existentialists believe that a particular individual is not the way he is because God made him that way, or because he is part of a great human community with common characteristics. He is the way he is because -- that’s how he is.
He is an individual; he is unique and independent. His destiny is his own, his choices are his own to make, and he should make the choices that are right for him. No general rules apply.
Realism
(Adapted from Craig White, Professor at University of Houston, Clear Lake)
Realism is a literary style may be best understood in comparison with Romanticism.
Attention to detail
Descriptions based on knowledge or experience (in contrast to imagination)
Characters motivated by real-life urges like greed, lust, envy, vanity, or confusion.
Characters are more complex mixes of good and bad.
The many conflicts and complications in everyday reality
Speech in realism is more vernacular and idiomatic, like common people.
Modernism
* Marked by a strong and intentional break with tradition.
* The world is what we say it is.
* There is no such thing as absolute truth. All things are relative.
* No connection with history. Their experience is that of alienation, loss, and despair.
* Life is unordered.
Modernism is also influenced by:
- Charles Darwin’s discovery that human beings could no longer be so easily distinguished from the other animals.
- Karl Marx thought inspired the Communist revolutions in Russia and China.
- Sigmund Freud’s Theories
Id: (or It) instincts
Ego: (or I) Reality
Superego: (or above I) Morality
佛洛伊德困擾我很久了
這個網站很棒,一目了然!
http://www.simplypsychology.org/psyche.html
Magic Realism:
The unexpected elements of dreams, fairy tale, or mythology combine with the everyday reality make it impossible to determine where reality ends and the extraordinary begins.
Magic realism is an art of creating surprises, giving people a new perspective on ordinary events.
_______________________________________________________________________________
這個地下室手記(1864)很討厭,但作者一定得背起來... 因為他是老師的最愛
Notes from Underground is written by Fyodor Dostoyevsky, a Russian writer.
這個小說(1946)我看了兩頁之後,拒絕再多翻一頁,只在課堂上聽過而已,放棄吧~知道是波蘭作家,知道是The Literature of Trauma, 到時候看考題,掰一些存在主義,寫實主義..大概可以拿到一些同情分數?
This Way for the Gas, Ladies and Gentlemen is written by a Polish writer, Tadeusz Borowski.
Some passages are Existentialism, but we also see Realism and Modernism elements.
The underground man takes refuge in his basement eluding from the reality. But at the same time, he yearns to be notified by strangers,
He goes into a billiard hall because he watched someone getting thrown out of the window (661)
|
He is so desperate for human contact. He is disappointed that not only does anyone throw him out a window, but no one even particularly notices him.
by long disconnected high school classmates,
The most significant line of the episode is spoken by one of the classmates, Zverkov, whom our hero mentions having just insulted. "Insulted me? You? In-sul-ted me? My dear sir, I want you to know that never, under any circumstances, could you possibly insult me." (680)
|
Our hero invited himself to have dinner with his former schoolfellows even though he doesn't like these men. Why could the protagonist never insult Zverkov? For the same reason that one cannot be insulted by a dog; one has to consider oneself at least on the same level for the insult to have any meaning at all.
Dostoyevsky's protagonist, however, fights a losing battle because he is simply too far of an outsider. Our hero simply does not exist for Zverkov at all.
and by a prostitute.
Dostoevsky's protagonist can see beauty, but cannot grasp it. He had a real chance but he threw it away because he needed to prove to himself that he exists. He prefers his own depression, which is uniquely his; therefore, he did not allow the full reality of anyone else to exist in his life.
He is an excessively vain person, and overly concerned with appearances. He is poor not only physically but mentally. He is severely mentally ill, and he is incapable to love and be loved.
_________________________________________________________________________________
卡夫卡的變形記The Metamorphosis (Czech, 1912) Modernism
at that moment something or other thrown casually flew down close by and rolled in front of him. It was an apple; immediately a second one flew after it. Gregor stood still in fright. Further flight was useless, for his father had decided to bombard him. From the fruit bowl on the sideboard his father had filled his pockets, and now, without for the moment taking accurate aim, was throwing apple after apple. These small red apples rolled as if electrified around on the floor and collided with each other. A weakly thrown apple grazed Gregor’s back but skidded off harmlessly. However another thrown immediately after that one drove into Gregor’s back really hard. Gregor wanted to drag himself off, as if the unexpected and incredible pain would go away if he changed his position. But he felt as if he was nailed in place and lay stretched out completely confused in all his senses. Only with his final glance did he notice how the door of his room was pulled open and how, right in front of his sister (who was yelling), his mother ran out in her undergarments, for his sister had undressed her in order to give her some freedom to breathe in her fainting spell, and how his mother then ran up to his father, on the way her tied up skirts one after the other slipped toward the floor, and how, tripping over her skirts, she hurled herself onto his father and, throwing her arms around him, in complete union with him—but at this moment Gregor’s powers of sight gave way—as her hands reached to the back of his father’s head and she begged him to spare Gregor’s life (231).
|
這個老師要我們只探討故事text本身傳遞的訊息,不要用外來的資訊解讀,甚至不要管作者的背景.反正就是只要鑽研於字裡行間,他說,當你學得越來越窄,窄到一篇文章裡只在一個字上做研究時,就是你拿博士的時候了,哇哈哈!
This passage is from The Metamorphosis written by Kafka who was a Modernist writer.
From Adam and Eve’s story, we know that the apple symbolizes forbidden sex; from Freud, we learn that the purpose of dream is to transform the forbidden wish into a non-threatening form. According to Freud, this is why Gregor’s dream looks like a believable event.
This passage is about the Oedipus complex.
Gregor’s unconscious mind (id) was under such repression that it transformed him into a cockroach to protect him from revealing his frustrated sexual desire of wanting to have sex with his mother.
To punish himself having this kind of sexual anxiety, Gregor’s dream allowed his father to reassume his authority and beat him back into his room with the newspaper, cane, and later with apples so that he can be relieved from his guilt.
______________________________________________________________________________
The dream reveals the reality that the protagonist’s desire to escape from human interaction. Even before his transformation, Gregor seems to have lost all purpose in life except earning money to repay his parents’ debts; therefore, he becomes a cockroach that the family feels no affection at the end of the story. His mother and sister are ineffectual, and their sympathy is slowly replaced by disgust.
_______________________________________________________________________________
南美阿根廷作家Julio Cortazar 的 House Taken Over (1946) 雖然隸屬於Postwar and Post-Colonoal Lit (1945-1968),但似乎更傾向於Modernism
Whenever Irene talked in her sleep, I woke up immediately and stayed awake. I never could get used to this voice from a statue or a parrot, a voice that came out of dreams, not from a throat. Irene said that in my sleep I flailed about enormously and shook the blankets off. We had the living room between us, but at night you could hear everything in the house. We heard each other breathing, coughing, could even feel each other reaching for the light switch when, as happened frequently, neither of us could fall asleep (692).
|
I still had my wrist watch on and saw that it was 11 P.M. I took Irene around the waist (I think she was crying) and that was how we went into the street. Before we left, I felt terrible; I locked the front door up tight and tossed the key down the sewer. It wouldn’t do to have some poor devil decide to go in and rob the house, at that hour and with the house taken over (692).
|
House Taken Over is written by Julio Cortazar, an Argentine writer. This story is based on a dream. According to Freud, The purpose of a dream is to transform the forbidden wish into a non-threatening form. A dream about a house might be the condensation of worries about security as well as worries about one’s appearance to the rest of the world.
Julio Cortazar’s father abandoned the family. He and his only sister were raised by his mother. This passage may suggest of incest; however, it is very ambiguous in the story.
It looks like the protagonist and his sister share one room, so they can feel each other thoroughly. And then the protagonist emphasizes that there is a living room between them, which is strange because in the beginning of the story, we learned that eight people could have lived in that house and not have gotten in each other’s way. That means the house is big. How can they notice all the trivial details for each other while they are in bed with a living room between them? Perhaps a living area between two beds in a room? If incest is the case, it’ll be easier to understand why he doesn’t feel secure, and why he worries about how people look at him. His superego makes him feel guilty.
The ending shows his unconscious mind (id) encourages him to elude all his worries.
When he locked the door and tossed the key down the sewer, it indicates his id wants him to abandon moral standards just as his father did.
Many people consider this is a work of Magic Realism. For example, the voice from a statue or a parrot that came out of dreams. My interpretation is that was the protagonist sister’s unconscious voice spilled out from her dreams.
上面的解讀連我自己都覺得荒唐,問題是我就乖乖地聽老師話,在字裡行間找線索呀!
我當然估狗了,當然知道很多人解讀為作者暗指二戰時德國入侵波蘭的史實,或
fear of the unknown...
還好學期快結束了,不然我可能會變成瘋子......
上面的解讀連我自己都覺得荒唐,問題是我就乖乖地聽老師話,在字裡行間找線索呀!
我當然估狗了,當然知道很多人解讀為作者暗指二戰時德國入侵波蘭的史實,或
fear of the unknown...
還好學期快結束了,不然我可能會變成瘋子......
_________________________________________________________________________________
The Guest (1957), is written by Albert Camus, an Algerian writer.
1957年諾貝爾文學獎得主
雖然這篇小說給我的感覺是存在主義, 但在1945年的一個interview,
Albert Camus說: No, I am not an existentialist.
Daru held out the package to him. "Take it," he said. "There are dates, bread, and sugar. You can hold out for two days. Here are a thousand francs too." The Arab took the package and the money but kept his full hands at chest level as if he didn't know what to do with what was being given him. "Now look," the schoolmaster said as he pointed in the direction of the east, "there's the way to Tinguit. You have a two-hour walk. At Tinguit you'll find the administration and the police. They are expecting you." The Arab looked toward the east, still holding the package and the money against his chest. Daru took his elbow and turned him rather roughly toward the south. At the foot of the height on which they stood could be seen a faint path. "That's the trail across the plateau. In a day's walk from here you'll find pasturelands and the first nomads. They'll take you in and shelter you according to their law." (762)
|
Daru, an idealistic teacher who has chosen a teaching post in the Algerian desert. He lives simply but happily, content with little.
Arab, a man who killed a cousin in a family feud, is not a case for the French colonial courts. Arab is served as a political example.
Daru was reluctantly to do the job to deliver Arab to the prison because he does not want to have the responsibility of casting dies for other people's lives.
At the end, Daru simply points out that there were two choices, and what they are. Daru makes no attempt to influence Arab that one choice is death, and the other one is life. Daru believes that everyone has complete freedom to determine his own fate. However, Arab set off in the direction of the east and prison.
In this story, Daru the Existentialist refuses to direct the life choices of anyone else. It is ironic that Daru simply relocated the burden of choosing back onto the prisoner, Arab.
________________________________________________________________________________
In a Bamboo Grove (Japanese 1922) written by Akutagawa Ryunosuke.
The author didn't really provide us what the truths are and what the lies are. What he did is provide us with information, and it would be up to us to form the puzzle. This is a series of testimonies about a murder. And as we go on reading along, our former belief of what really happened would be contradicted by another person's account, leaving to us wonder what really happened after all.
The point is that it's impossible to know the truth of what happened. All facts are second hand. The story is like a riddle without an answer. But the point ISN'T who murdered the man. The point is to question what truth is. We don't know anything.
This novel is a typical Modernist work because there is no such thing as absolute truth. All things are relative is one of the elements of Modernism.
______________________________________________________________________________
The Izu Dancer is written by a Japanese writer, Kawabata Yasunari, who won the Nobel prize in Literature in 1968. The story tells the interactions between a young male student from Tokyo, and a small group of travelling performers from nearby Oshima island whom he meets while touring the Izu Peninsula.
One small figure ran out into the sunlight and stood for a moment at the edge of the platform calling something to us, arms raised as though for a plunge into the river. It was the little dancer. I looked at her, at the young legs, at the sculptured white body, and suddenly a draught of fresh water seemed to wash over my heart I laughed happily. She was a child, a mere child a child who could run out naked into the sun and stand there on her tiptoes in her delight at seeing a friend. I laughed oq a soft, happy laugh. It was as though a layer of dust had been cleared from my head. And I laughed on and on. It was because of her too-rich hair that she had seemed older, and because she was dressed like a girl of fifteen or sixteen. I had made an extraordinary mistake indeed (328).
|
This passage is a symbol of pure beauty.
The boy’s observation of the little dancer bathing in the nude. This moment frees him from any erotic feeling he had for her.
She had an open way of speaking a youthful, honest way of saying exactly what came to her, that made it possible for me to think of myself as, frankly, "nice." I looked up anew at the mountains, so bright that they made my eyes ache a little. I had come at nineteen to think of myself as a misanthrope, a lonely misfit, and it was my depression at the thought that had driven me to this lzu tip. And now I was able to look upon myself as "a nice person" in the everyday sense of the expression. I find no way to describe what this meant to me (333)
|
The 15 year old girl is considered to be a social outcast. Her naive character refreshes the elite social class 19 year old boy’s lonely and depressed heart.
“Is something wrong?" he asked after a time. "No. I've just said good-by to someone." I saw no need to disguise the truth, and I was quite unashamed of my tears. I thought of nothing. It was as though I were slumbering in a sort of quiet fulfillment I did not know when evening came, but there were lights on when we passed Atami. I was hungry and a little chilly. The boy opened his lunch and I ate as though it were mine. Afterwards I covered myself with part of his cape. I floated in a beautiful emptiness, and it seemed natural that I should take advantage of his kindness. Everything sank into an enfolding harmony. The lights went out, the smell of the sea and of the fish in the hold grew stronger. In the darkness, warmed by the boy beside me, I gave myself up to my tears. It was as though my head had turned to clear water, it was falling pleasantly away drop by drop; soon nothing would remain (335)
|
This story is a Modernist work in which we feel the sense of the boy’s alienation, loss, and despair. Later on we find out that the story is the boy’s (the narrator’s) journey to self-awareness and self- understanding.
This is a teenagers first taste of love story that between two different social classes. At the end, the sweet tender moment in life has passed, and the love they feel is impossible.
However, the last couple lines make me uncomfortable for I wonder whether or not the protagonist is confused by his sex orientation.
_________________________________________________________________________________
The Deep River by Bessie Head (South Africa 1977) (folk tale)
Existentialism: Man has complete freedom to choose his own fate.
Long ago, when the land was only cattle tracks and footpaths, the people lived together like a deep river. In this deep river which was unruffled by conflict or a movement forward, the people lived without faces, except for their chief, whose face was the face of all the people; that is, if their chief’s name was Monemapee, then they were all the people of Monemapee (1100).
|
The author uses the “deep river” to illustrate that the tribe in Africa did not focus on the individual, but on the group as a whole.
The next morning the people of the whole town saw an amazing site which stirred their hearts. They saw their ruler walk slowly and unaccompanied through the town. They saw him pause at the yard of Rankwana’s father. They saw the two walk to the home where Rankwana had been secreted. They saw Rankwana and Sebembele walk together through the town. Sebembele held the child Makobi in his arms. They saw they had a ruler who talked with deeds rather than words. They saw the time had come for them to offer up their individual faces to the face of this ruler. But the people were still in camps. There was a whole section of the people who did not like this face; it was too – out – of – the- way and shocking; it made them very uneasy. This was not a tender, compassionate and romantic world. And yet it was. The arguments that had supported Sebembele had flown thick and fast all this time (1103).
|
The village as a whole begins to conflict after the death of the chief because the chief’s eldest son refused to give up his love for the chief’s third wife with whom he had a child who was considered the youngest son of the chief.
Sebembele challenges the villagers to stand up and be heard as individuals. We see a division in the village, which almost like democracy. I learned from the story that true love is priceless and worth the fight for it.
_________________________________________________________________________________
The Novel in Africa is written by J. M. Coetzee, 2002 Nobel Prize recipient in Literature.
(South Africa, 1999) (Modernism)
The Southern Ocean. Poe never laid eyes on it, Edgar Allan, but crisscrossed it in his mind. Boatloads of dark islanders paddled out to meet him. They seemed ordinary folk just like us, but when they smiled and showed their teeth the teeth were not white but black. It sent a shiver down his spine, and rightly so. The seas full of things that seem like us but are not. Sea-flowers that gape and devour. Eels, each a barbed maw with a gut hanging from it. Teeth are for tearing, the tongue is for churning the swill around: that is the truth of the oral. Someone should tell Emmanuel. Only by an ingenious economy, an accident of evolution, does the organ of ingestion sometimes get to be used for song (1273).
|
This passage is awkward because none of the nature described is normal even the Blacks’ teeth are abnormal. It hints that human beings could no longer be so easily distinguished from the other animals. This work is typical Modernism which is influenced by Darwin’s Theory.
I think the author indicates that we Africans DO have novels just like this one he was writing, and he tries to attack Emmanuel who can only tell stories with his mouth through the protagonist’s point of view.
On the other hand, the author is not quite sure if he is right or not because the protagonist he created in the story is biased based on her jealousy which is another element of Modernism. There is no such thing as absolute truth.
那天行雲流水般複習22篇小說時,老師說這篇是realistic style, 還說我們當然可以有不同意見,但必須 convince him... @@"
_________________________________________________________________________________
Zaabalawi is written by Naguib Mahfouz, an Egyptian writer who won the 1988 Nobel Prize for Literature.
Existentialism (Egypt, 1963)
The protagonist is troubled with a disease which doctors are unable to cure and sets out to find Zaabalawi, a holy man who possess healing powers.
While in his search, he visits many people, but he is not able to find any answer. He begins to doubt his existence.
He filled me a glass, which I meekly took and drank. No sooner had the wine settled in my stomach than it seemed to ignite. I waited patiently until I had grown used to its ferocity, and said, "It's very strong, and I think the time has come for me to ask you about – " . . . He filled up my glass for the second time. I glanced at it in trepidation, then, overcoming my inherent objection, I drank it down at a gulp. No sooner had the wine come to rest inside me then I lost all willpower. With the third glass, I lost my memory, and with the fourth the future vanished. The world turned round about me, and I forgot why I had gone there. The man leaned toward me attentively, but I saw him – saw everything – as a mere meaningless series of colored planes. . . . I was in a state of deep contentedness, of ecstatic serenity. There was an extraordinary sense of harmony between me and my inner self, and between the two of us and the world, everything being in its rightful place, without discord or distortion. . . . the universe moved in a rapture of ecstasy (890)
|
While in a drunken sleep in a bar, he dreams that he is in a beautiful garden and experiences a state of harmony and contentment. He awakes to find that Zaabalawi was with him but has now disappeared.
We learn that when the narrator lost his will, his memory, and his future, which are aspects of desire, he achieved his inner harmony. Existentialism states that people are free to choose what they want to be including not choosing which is another form of choosing. The protagonist has chosen his fate as keeping pursuing Zaabalawi which is something in his heart that he doesn’t realize.
What a pity! He was sitting on this chair beside you the whole time… then, taking pity on you, he began to sprinkle some water on your head to bring you around (891)
|
You are not allowed to drink alcohol if you are a Muslim. From this passage we can see deepen in the author’s heart that he rebels against this dogma.
… the truth of the matter was that I had become fully convinced that I had to find Zaabalawi.
Yes, I have to find Zaabalawi (892).
|
He doesn’t realize that he is the only one can cure his own disease.
_________________________________________________________________________________
Magic Realism:
The unexpected elements of dreams, fairy tale, or mythology combine with the everyday reality make it impossible to determine where reality ends and the extraordinary begins.
Magic realism is an art of creating surprises, giving people a new perspective on ordinary events.
The Perforated Sheet by Salman Rushdie, an Indian writer.
Magic Realism
I was born in the city of Bombay… once upon a time, No, that won’t do… Oh, spell it out, spell it out: at the precise instant of India’s arrival at independence, I tumbled forth into the world (1131).
|
Born at the dawn of Indian independence. The relationship between the protagonist's individual life and the collective life of India suggests that private and public can always influence one another. Also, The usage of “once upon a time” sounds like fairy tale. Magic Realism kicks in.
One Kashmiri morning in the early spring of 1915, my grandfather Aadam Aziz hit his nose against a frost-hardened tussock of earth while attempting to pray. Three drops of blood plopped out of his left nostril… he resolved never again to kiss earth for any god or man. This decision, however, made a hole in him, a vacancy in a vital inner chamber, leaving him vulnerable to women and history (1132).
|
Knees and nose represent an act of prayer, as well as the submission. After hitting his nose on the ground, due to the blood, his grandfather rejects that submission and renounces Islam, as a result, a hole opens up inside of him.
You could cross a river on that nose (Its bridge was wide.) My grandfather’s nose: nostrils flaring, curvaceous as dancers. Between them swells the nose’s triumphal arch, first up and out, then down and under, sweeping in to his upper lip with a superb and at present red-tipped flick… if not for it, who would ever have believed me to be truly my mother’s son, my grandfather’s grandson?... comparable only to the trunk of the elephant-headed god Ganesh…
That’s a nose to start a family on… (1135)
|
The curves of the country of India is like a Ballet dancer. The description of the nose links his grandfather and the protagonist’s destiny to India.
Tai asks, “Tell me this, Doctor Sahib: have you got in that bag made of dead pigs one of those machines that foreign doctors use to smell with?” Aadam shakes his head, not understanding. Tai’s voice gathers new layers of disgust. “You know, sir, a thing like an elephant’s trunk.” Aziz, seeing what he means, replies: “A stethoscope? Naturally.” Tai pushes the shikara off from the jetty. Spits. Begins to row away. “I knew it.” he says. “You will use such a machine now, instead of your own big nose.” (1140)
|
Tai warns his grandfather to trust his nose’s feelings, as his nose will tell him when something is wrong. The author hints that the nose will play an important role in the story for it’s not only affects his grandfather’s life but also in the protagonist’s life.
The boy Aadam, my grandfather-to-be, fell in love with the boatman Tai precisely because of the endless verbiage which made others think him cracked. It was magical talk, words pouring from him like fools’ money… “But how old are you really, Taiji?”... I have watched the mountains being born; I have seen Emperors die… (1136, 1137)
|
There is no answer ever given about the boatman’s age. This implies that the man is very old, even older than we can imagine. This is an example of Magic Realism because this boatman is somewhat of a supernatural figure, and it allows the reader to wonder if the boatman is really exist.
So gradually Doctor Aziz came to have a picture of Naseem in his mind, a badly-fitting collage of her severally-inspected parts. This phantasm of a partitions woman began to haunt him, and not only in his dreams… because he had never seen her face (1142)
|
The protagonist’s grandfather, a young doctor, falls in love with a patient whose face he has never seen. He can only see her partial body through a perforated sheet which is held by two women bodyguards on each end. This indicates his grandfather is unable to see his future wife as a whole; therefore, their love is fragmented. The perforated sheet becomes a veil that not only separates her from the world but also reduces her to nothing more than a voice.
_________________________________________________________________________________
(Magic Realism)
Death Constant Beyond Love is written by Gabriel Garcia Marquez. (Colombian 1970)
He was awarded the 1982 Nobel Prize in Literature.
22篇小說裡,我選這篇寫我期末essay
Senator Onesimo Sanchez was placid and weatherless inside the air-conditioned car, but as soon as he opened the door he was shaken by a gust of fire and his shirt of pure silk was soaked in a kind of light-colored soup and he felt many years older and more alone than ever (988).
|
The senator was sitting in an air-conditioned car and was completely isolated with no sense of the hot climate outside, indicating a state of separation. His silk shirt represents his wealth. A person moving from the air- conditioned car out into the hot climate would feel very uncomfortable. However, the senator's discomfort surprisingly was spiritual, not physical. He did not feel the heat was unbearable, but he felt much older and more alone. This symbolizes that he did not fit in the real world with real people. There was a huge gap between him and the ordinary people. The soup was a sign that the illusion was faltering, connecting to his secret knowledge of illness and death. Despite being surrounded by people, his emotions were completely in a state of solitude.
As he spoke his aides threw clusters of paper birds into the air and the artificial creatures took on life, flew about the platform of planks, and went out to sea. At the same time, other men took some prop trees with felt leaves out of the wagons and planted them in the saltpeter soil behind the crowd. They finished by setting up a cardboard facade with make-believe houses of red brick that had glass windows, and with it they covered the miserable real-life shacks (989).
|
Marquez’s magical birds seem both real and impossible. This is a work of Magic Realism. However, one thing we know for sure is that those birds will soon drop dead in the ocean, much like the Senator will soon die as well.
The campaign was like a circus in which he promised life for the dead town, but that was a lie.
The senator sat down on an army cot, talking about roses as he unbuttoned his shirt. On the side where he imagined his heart to be inside his chest he had a corsair’s tattoo of a heart pierced by an arrow (992).
|
It was the only rose in the area. This is ironic because the name of the town can be translated as "the Governor's Rose Garden." We might imagine that there used to be roses in the past, but not anymore. Perhaps the senator wanted to give the townspeople a romantic, warm feeling by wearing the red rose, which often represents love in poems, but it could also be an expression for the Senator’s subconscious desire for love.
Marquez uses the term "imagination" to imply that a corrupt politician like the senator does not have a genuine heart, only a false heart, let alone let the cupid’s arrow hit! The tattoo design of a pirate suggests there is no difference between corrupt politicians and predatory pirates.
The senator had torn a sheet off the calendar and fashioned a paper butterfly out of it with his hands. He tossed it … Laura Farina saw the paper butterfly come out… After a few turns, the large lithographed butterfly unfolded completely, flattened against the wall, and remained stuck there (991)
|
A calendar page represented an event in time. The senator made a butterfly and threw it. He thought he could alter his fate, which was his last attempt to deny his impending death. For a while, the butterfly flitted about and moved around, as if events in the future could be changed. But at the end, it became affixed to the wall, signifying that the senator’s death was not changeable. You can’t change your date with death.
Her skin was smooth and firm, with the same color and the same solar density as crude oil, her hair was the mane of a young mare…
“What have you got there?” “A Padlock” “What in hell!”... “Where’s the key?” (992)
|
Laura’s hair and skin are like animal.The woodsy smell was the power of nature. The senator was drawn to it because it was the only thing alive in that desert town. She was alive, and maybe she would allow him to enjoy life. But then there is the padlock, so again, his fate of death and solitude is sealed.
At the end of the story, six months and eleven days later, the senator died in the same position in bed in Laura's "woods-animal armpit" (993) like an animal curled up in its cave while Laura's eyes fixed on the rose, which we know was dead by that time. Before he died, the senator wept with rage at the fact that Laura would not die with him. Thus, he had to go on death's journey by himself (993).
_____________________________________________________________________________________________
_____________________________________________________________________________________________
The Women's Swimming Pool by Lebanese writer Hanan Al-Shaykh.
This is a work of Modernism for the intention breaking with tradition and the sense of despair.
Despite the intense heat, we are aware that the young girl narrator is forced to wear long clothing
and repeatedly mentions her sweating and needing a drink of water. She struggles against the strict religion and culture. She feels struck; at the same time, she dreams of swimming in the women’s swimming pool so that she can be free from her faith.
All this trouble is that devil Sumayya’s fault (1168).
|
The grandmother repeats this sentence several times during their trip to the women’s swimming pool. She blams the protagonist’s friend for poisoning the protagonist’s mind with an evil idea which is against their religion.
If any man were to see you, you’d be done for, and so would your mother and father and your grandfather, the religious scholar- and I’d be done for more than anyone because it’s I who agreed to this and helped you (1168).
|
The grandmother is trying to stop the protagonist from going to swim by putting guilt on her.
She was destroying what lay in my bag, blocking the road between me and the sea. I felt sorry for her, for her knees that knelt on the cruelly hard pavement, for her tattooed hands that lay on the dirt. I looked at her again and saw the passers-by staring at her. For the first time her black dress looked shabby to me. I felt how far removed we were from these passers-by, from this street, this city, this sea. I approached her, and she again put her weight on my hand (1171).
|
Even when the protagonist finally arrives at the women’s swimming pool, she is unable to swim.
She decides to return to her grandmother and allows her grandmother to control her life. Her grandmother again put the weight of tradition on the protagonist by putting her weight on the protagonist’s hand. She has no way to escape from her religion, culture, and family. she realizes that she’s imprisoned by her traditional Islamic customs.
_________________________________________________________________________________
In Punishment, Rabindranath Tagore demonstrates how Indian society dehumanizes women.
This is a work of Realism, talking about common people’s conflicts in everyday reality.
這故事講印度一對都結了婚且住在一塊的兩兄弟,經歷一天田裡辛勞回家後,老大肚子餓,卻沒食物在桌上等著,受不了老婆的譏諷,一刀砍死了她.然後弟弟讓自己老婆頂罪,最後弟弟老婆被判了死刑,這是哪門子的punishment!
After a whole day of toil and humiliation, to return―raging with hunger―to a dark, joyless, foodless house ... ‘What?’ he roared, like a furious tiger, and then, without thinking, plunged his knife into her head Radha collapsed into her sister-in-law’s lap, and in minutes she was dead (894)
|
The two brothers consider themselves as the bread earners of the family. However, the elder brother failed to give his wife anything to cook, but expected prepared food from her. He kills his wife without any hesitation after his wife’s cynical response.
Seeing no way out now, Chidam blurted, “In their quarrel, Chotobau stuck at Barobau’s head with a farm-knife” (894)
|
The younger brother says to the first person arrived at the scene that his wife killed his brother’s wife while they were arguing.
If I lose my wife I can get another, but if my brother is hanged, how can I replace him? (895)
|
This statement shows that siblings are more important than wives in Indian culture.
Women are treated like men’s property, their duties are taking care children, obeying men’s orders and doing house work as the only reason to live on in India.
_________________________________________________________________________________
這兩篇狂人日記和藥都是魯迅寫的.我盡量不bias, 真難!
Diary of a Madman written by Lu Xun, considered the first Chinese vernacular short story.
Modernist fiction, also associated with Socialist Realism (Chinese 1918)
The story begins with the narrator’s visit a pair of brothers who were his close friends when he was in school. The elder brother told him that the younger one suffered from a mental illness, and during the illness, the younger brother kept a diary that the narrator is allowed to read. From here, we can conclude that the diary is written by an unreliable person whose point of view can not be trusted.
The diary contains thirteen fragments in which it describes a madman who has lived in confusion for thirty years and suddenly gains spiritual insight from the moon. The madman sees
cannibalism both in his family and the village around him. He became paranoid. The barking dogs, people’s glances, children’s stares, a mother’s cursing words to her son, his brother’s caring, and his doctor’s treatment are all about eating him. and he then finds cannibalism in the Confucian classics. The diary attacks traditional Chinese culture and reveals Lu Xun’s interest in changing society.
Medicine is also written by Lu Xun. Modernism (Chinese 1919)
Medicine makes effective use of symbolism. A mantou (Chinese steamed bread) soaked with blood as a cure for TB symbolizes superstition.
Xia Yu, the son of the widow Xia, a revolutionary seeks the overthrow Qing Dynasty. After his execution, his blood is used in the service of superstition and useless medical cure to a tea-shop owner’s son who is dying from TB. Lu Xun sees China as a sick society badly in need of treatment.
She too cannot help but be startled---a circle of red and white flowers surrounds the peak of the mound!... they have been arranged into a wreath… (258)
|
Someone who believed in revolution had placed the wreath with red (means the revolutionary’s blood) and white (means sun, metaphors bright future) flowers surrounded by Xia Yu’s tum.
She looks all around but sees nothing except a crow perched on a leafless tree… (259)
|
- Xia Yu’s mother’s reaction to the crow was a symbol of superstition and ignorance as all the people except Xia Yu in the story.
- For Chinese, crows symbolize tragedy, death, fright, and the unknown. Lu Xun hints that revolution is like what a crow represents. It never works especially when people are superstitious and ignorant.
_________________________________________________________________________________
Sealed Off written by Zhang Ailing (Chinese 1943) Modernism
Life was like the Bible, translated from Hebrew into Greek, from Greek into Latin, From Latin into English, from English into Chinese. When Cuiyuan read it, she translated the standard Chinese into Shanghainese. Gaps were unavoidable (501)
|
Zhang Ailing states that life is like the Bible which has been translated in so many different languages inferring life is difficult because the translation is not only the languages but also the cultures. So the question is what is the absolute truth? Zhang Ailing knows that when you translate, gaps were unavoidable; therefore, we found this passage shows one of the characteristics of the Modernism that is: “There is no such thing as absolute truth. All things are relative.”
He was given a hot washcloth to wipe his face after the meal. Then he walked to the bedroom, turned on the light, and spotted a black shell bug crouching in the middle of the room floor motionless. It must be on its way crawling to the other end of the room. Was it playing dead? contemplating? The bug probably has little time to think as it was busy crawling all day long. Thinking is a painful business after all. Zongzhen turned off the light, and kept his finger on the switch. His palms started to sweat, his body as well; the oozing sweat felt like small insects crawling all over his body. He turned on the light again. The black shell bug disappeared—it had made its way back to the nest (This is the last paragraph translated by me).
|
This passage fits in perfectly with the characteristic of Modernism that is the break of the established religion. Lu Zongzhen questioned the black shell bug, “The bug probably has little time to think as it was busy crawling all day long.” It shows that Lu Zongzhen and the black shell bug are in the similar situation as Zongzhen mentioned earlier in the story that he is terribly busy going back and forth between his work and home (504). In addition, when Lu Zongzhen was trapped in the tramcar during the air raid, it is exactly like the situation the black shell bug experienced when the lights were suddenly turned on by Lu Zongzhen. Moreover, when Lu Zongzhen turned off the lights, and then turned it back on again, the black shell bug was gone, crawling back to the nest just as Lu Zongzhen is now back to his home. This passage proves that “human beings could no longer be so easily distinguished from the other animals,” which is one of the Modernism characteristics that break
with established religion.
with established religion.
_________________________________________________________________________________
Realism
Realism is a literary style may be best understood in comparison with Romanticism.
Attention to detail
Descriptions based on knowledge or experience (in contrast to imagination)
Characters motivated by real-life urges like greed, lust, envy, vanity, or confusion.
Characters are more complex mixes of good and bad.
The many conflicts and complications in everyday reality
Speech in realism is more vernacular and idiomatic, like common people.
Separate Ways written by Japanese writer, Higuchi Ichigo, is a literary work that reflects Realism, for it explores the experiences of a pair of friends who are struggling with poverty.
… - Hmm. What a waste, on that old baldie. Why don’t I wear it first?
Don’t be ridiculous. Don’t you know what they say? He who wears another’s clothes will never get anywhere in life… (908)
|
This implies an individual should work for themselves if they want to succeed. If one were to rely on another person, he would be in the position that he is in. This is ironic because at the end, Okyo will become someone’s mistress; whatever she wants to wear will be supplied.
Kichizo, I’m sick of all the washing and sewing. Anything would be better. I’m tired of these drab clothes. I‘d like to wear a crepe kimono, too, for a change- even if it is tainted” (912).
|
This indicates that Okyo is degrading herself by becoming someone’s mistress so that she can be out of the hard life of poverty that she was born into. She would like to live in a better position where she does not have to worry about making ends meet.
At the end, Kichizo feels abandoned and he feels like he’s back to the beginning. Being bullied and having no one around. With tears in his eyes, Kichizo tells Okyo not to touch him anymore, He is going to close his heart against the possibility of further abandonment.
These two friends go on their “separate ways.”
_________________________________________________________________________________
Hedda Gabler written by Henrik Ibsen (Norwegian, 1890) Realism in Drama
(Adapted from shmoop)
這劇本實在太長,50頁,不太好猜題,從上面這個網站找到幾個重點
HEDDA GABLER THEME OF MANIPULATION
Hedda is famous as a cold-hearted, manipulative woman years ahead of her time. In this play, her ability to influence others has a lot to do with her sexuality and good looks. Machinations become a sort of game, a way of escaping the boredom of Victorian-era Norway. Because women can’t seek power through careers or scholarship, Hedda seeks it through controlling others.
LØVBORG Yes, Hedda, and when I made my confessions to you—told you about myself, things that at that time no one else knew! There I would sit and tell you of my escapades—my days and nights of devilment. Oh, Hedda—what was the power in you that forced me to confess these things? (2.337)
|
Løvborg recognizes what indeed proves to be Hedda’s greatest asset: her ability to make others reveal their secrets.
HEDDA GABLER THEME OF DREAMS, HOPES, AND PLANS
If Hedda Gabler teaches one lesson, it is that dreams cannot be relied upon. In this play, all plans for the future are predicated upon falsities, lies, misunderstandings, or miscommunication. Whether it be marriage, friendship, babies, professional pursuits, or economic risk, no thing is a sure thing..
Why is Hedda So Mean and Manipulative?
The short answer is: because she’s female and it’s 1890. The point is, it’s the Victorian era. It was not a fun time to be a woman. Hedda isn’t allowed to hang out with a man unless a chaperone is present. She isn’t allowed to go to the Judge’s party. She has to be careful not to use the word "night" when referring to the time she spends with her husband, because that might imply sex. It’s clear that, in this world, women aren’t supposed to do or say much of anything. It’s basically their job to sit around all day looking pretty and complementing their husbands.
Hedda Gets Her Kicks… By Screwing With Other People
What appeals to Hedda here is the idea of power. When Mrs. Elvsted wants to know why she’s manipulating Eilert like this, her answer is: "For once in my life, I want to have power over a human being." She considers Thea "rich" for her influence and herself "poor" for the lack of it.
So Why Didn’t Any of These Work?
Living through others, manipulating those around her – Hedda is still just a woman trapped in 1890 Norway. She’s restricted by the social standards. We see this best through Hedda’s "deathly" fear of "scandal." The threat of scandal is the reason she broke things off with Eilert in the first place. She married George because, according to society, she had to marry someone. She doesn’t love her husband, but she "doesn’t expect to be unfaithful, either" because she can’t run the risk of a scandal.
Why Does Hedda Commit Suicide?
Hedda kills herself for any number of reasons. She’s been unhappy for quite some time now. We know she’s bored, trapped in a loveless marriage, completely stifled, living below her standards.
1) She can’t stand the thought of the judge having power over her.
2) She finally faces her pregnancy. Yes, Hedda has been pregnant for all of the play, but she’s been in denial for the first three acts. Did you notice that one of Hedda’s big outbursts comes when she finally reveals to George (and admits to herself) that she’s going to have a baby? Or her words to Judge Brack: "I have no talent for such things! I won’t have responsibilities!"
3) Hedda is afraid of breaking the rules. Because she’s being blackmailed. Hedda has to decide whether to face the public scandal of an investigation regarding the pistol, or the private shame of an affair with Judge Brack. She’s terrified of scandal, so she kills herself to escape it. If this one is true, it means that Hedda is still a coward when she dies.
She finally faces her fear of scandal (what’s more of a scandal than commit suicide?). George loses the one thing he prizes most – his trophy wife – and Brack never gets to have sex with the woman he’s been lusting after. Hedda wins.
_________________________________________________________________________________
The Cherry Orchard Written by Anton Chekhov (Russian, 1904) (Realism in Drama)
(Adapted from wikipedia & shmoop)
The setting is when Russia was changing, breaking from the old way of life and witnessing a new society, ruled by money and ambition, not noble class and tradition. The play illustrates how little grasp the matriarch actually has on the reality of the situation.
Alao, there are servants who want to stay servants, like 87-year-old Firs. There are servants who pretend to be ladies and gentlemen. There are former serfs who are rich and getting richer, like Lopakhin. And the noble class on their way nowhere but down.
“Did you get the interest paid? With what? Oh, my God, my God…The place goes up for sale in August”
|
The two daughters reality of losing their home marks the transition of a new era for both Russia and their family.
The play demonstrates the rise of the middle class, the former serf, Lopakhin, who is a self-made millionaire, takes over the ownership of Cherry Orchard. The fall of the loyal family marks the end of tradition in Russia.
At the end of the play we see Firs, a loyal serf, forgotten by the family, after all of his years of service and loyalty. While time may have changed everyone’s status in life, it will take a little longer to change their attitudes.
Lubov shows him a telegram she has received from Paris and reveals that her former lover is ill again and has begged her to return to aid him. She says that she is seriously considering joining him, despite his cruel behaviour to her in the past.
Madame Lubov – a landowner. she represents the pride of the old noble class, now fallen on hard times. Most of her humor comes from her inability to understand financial or business matters.
Peter – a student and Anya's love interest. Peter is an "eternal" student. A left-wing political commentator, he represents the rising tide of political opinion in Russia.
Anya – Lyubov's daughter, aged 17. She journeys to Paris to rescue her mother from her desperate situation. She is a strong young woman. She is in love with Peter and listens to his revolutionary ideas, although she may or may not be taking them in.
Varya – Lyubov's adopted daughter, aged 24. Varya is the one who manages the estate and keeps everything in order. She is the rock that holds the family together. Her relationship to Lopakhin is a mysterious one.
Gayev – the brother of Madame Lubov, a noble class, lacks the drive.
Lopakhin – a merchant. Lopakhin is by far the wealthiest in the play, but comes from the lowest social class. Lopakhin represents the new middle class in Russia.
THE CHERRY ORCHARD THEME OF MEMORY AND THE PAST
There are three distinct parts: the noble family (Lubov, Gayev, Anya and Varya), family friends (Lopakhin, Peter), and the "servant class" (Firs, Yasha, Dunyasha, Charlotta and Yepikhodov), the irony being that some of them clearly act out of place – think of Varya, the adopted daughter of an aristocrat, effectively being a housekeeper; Peter, the thinking student, being thrown out of university; Yasha considering himself part of the Parisian cultural élite; and both Lyubov and Gayev running low on money while Lopakhin, born a serf, is a millionaire.
Will the cherry orchard be saved? As a symbol of the past of the Russian empire.
THE CHERRY ORCHARD THEME OF HOME
"You can never go home again?"
|
The Cherry Orchard begins with a homecoming. The main character Lubov believes that, in returning home, she can restore her life to a state of innocence. Ever heard that saying, "You can never go home again?" Lubov learns the hard way. Home has become a bittersweet mixture of happy and sad memories, worry, and conflict. It's under siege by economic forces and social change. The Cherry Orchard begins with a homecoming, but ends – just six months later – with an eviction.
_________________________________________________________________________________
A Simple Heart written by Gustave Flaubert (French 1877)
The story is an important example of Realism, because it focuses on the little guy (in this case, the little gal, a servant) rather than a grand hero
(Adapted from shmoop)
Félicité is crazy about Madame Aubain's daughter, Virginie, and about her own nephew, Victor. Victor signs on to an ocean voyage and died of yellow fever in Cuba, to Félicité's utter dismay. Virginie dies at boarding school of pneumonia, which breaks both Félicité's and Madame Aubain's hearts.
Félicité inherits a parrot named Loulou, and after he dies she has him stuffed. Madame Aubain dies, and Félicité remains in her room, impoverished and deaf. She gets very sick until one day she dies, with a vision of Loulou as the Holy Spirit greeting her in heaven.
That day, something wonderful happened: at dinner time, Madame de Larsonnière's negro servant came to the door, holding the parrot in his cage, complete with perch, chain and padlock.
|
Loulou is the only good thing to happen to Félicité in her entire life.
Félicité is thrilled to have him, especially in her loneliness after so much death.
He had long fascinated Félicité, because he came from America. The word reminded her of Victor, and she had gone so far as to ask the negro about him.
|
Loulou represents a few things for Félicité. For one thing, he's a connection to her dead nephew:
She believes that the black servant will know something about Victor because he dies in Cuba, which she pictures as being full of only black people. Maybe she imagines that Loulou knows Victor, as well.
"Monsieur Paul was careless enough to blow smoke in his nostrils"
|
The bird also just becomes a friend to Félicité, something she really doesn't have in her life. People treat Loulou as a curiosity, something to be mildly tortured. Fabu, the butcher's boy, teaches him swear words and threatens to twist his neck. Meanwhile, "Monsieur Paul was careless enough to blow smoke in his nostrils" (4.7). Félicité, on the other hand treats him like a child. She protects him from the swear words by giving him "the run of the house"
"She had put him down on the grass to cool him and gone away for a minute. When she returned, the parrot was gone!"
|
Loulou also represents all of the loss in Félicité's life.
Poor Félicité searches for him frantically, probably thinking of Victor, Virginie, even Théodore…but she can't find him.
She finally gives up and "returned, exhausted and with a heavy heart, her slippers torn to shreds. She sat down on the bench next to Madame, and was telling her all she had done to find the bird, when something light came to rest on her shoulder—Loulou!"
|
This is the only time that something Félicité loses comes back to her, which just strengthens her bond to the pretty bird.
In church, gazing at the Holy Spirit, she noticed that he had something of the parrot about him. The resemblance was even more striking in a print depicting the baptism of Our Lord. With his purple wings and emerald body, the Holy Spirit was the image of Loulou.
[. . .] They were associated in her mind, the parrot being sanctified by this association with the Holy Spirit, who himself became more vivid and intelligible to her.
|
Loulou finally takes on holy proportions at the end of Félicité's life. After he dies she has him stuffed, and puts him in her room with all of her other religious objects. She begins to almost worship him because of a certain resemblance he has with the Holy Spirit:
Félicité even turns toward the bird when she prays. Loulou has become an idol, a representative of God here on earth. She has always been kept away from the divine; she has no education and can't read, and must get her religious training by taking Virginie to church. Loulou is like proof that God would care about someone as simple and poor as Félicité.
Her heart slowed, becoming vaguer and gentler with each beat, like a fountain running dry, like an echo fading away, and as she breathed her last, she seemed to see, hovering above her head as the heavens opened, a giant parrot.
|
When she finally dies, Félicité has her ultimate encounter with Loulou:
It's almost comical, but the absurdity of a parrot as the Holy Spirit is the whole point; Félicité has to create her own relationship with God because of her social status.
只剩星期天可以K這些筆記了,還剩一篇義大利作家Luigi Pirandello的Six Characters in Search of an Author
這篇懺悔一下,我只看了舞台劇,劇本一個字都沒摸,算了吧!沒力氣了.怎能怪我~那個禮拜我趕一篇psychology 20頁的research paper,龐大的壓力讓我一星期體重降5磅,我又不是超人
再仔細看了一下老師的樣題,我的媽呀!我得背作者的名字!!!我知道哪一國的就已經很了不起了好不好! @@"
豬八戒!
只剩星期天可以K這些筆記了,還剩一篇義大利作家Luigi Pirandello的Six Characters in Search of an Author
這篇懺悔一下,我只看了舞台劇,劇本一個字都沒摸,算了吧!沒力氣了.怎能怪我~那個禮拜我趕一篇psychology 20頁的research paper,龐大的壓力讓我一星期體重降5磅,我又不是超人
再仔細看了一下老師的樣題,我的媽呀!我得背作者的名字!!!我知道哪一國的就已經很了不起了好不好! @@"
豬八戒!
Realism
|
Intro to Russian Lit /Existential
Motifs
|
Notes
from Underground (Russian, 1864)
|
Fyodor Dostoyevsky
|
635-708.
|
Realism
|
A Simple Heart (French, 1877)
|
Gustave Flaubert
|
711-735.
|
|
Realism in India
|
Punishment (Indian, 1894)
|
Rabindranath Tagore
|
893-899
|
|
Realism in Japan
|
Separate Ways (Japanese, 1896)
|
Higuchi Ichiyo
|
907-913.
|
|
Realism in Drama
|
Hedda
Gabler (Norwegian, 1890)
|
Henrik Ibsen
|
781-838.
|
|
The
Cherry Orchard (Russian, 1904)
|
Anton Chekhov
|
850-889.
|
Modernism
|
Modern Chinese Stories
|
Diary of a Madman (Chinese, 1918)
|
Lu Xun
|
244-253
|
Medicine (Chinese, 1919)
|
Lu Xun
|
253-259
|
||
Sealed Off (Chinese, 1943)
|
Zhang Ailing
|
498-506.
|
||
Modern Japanese Stories
|
In a Bamboo Grove (Japanese, 1922)
|
Akutagawa Ryunosuke
|
305-311
|
|
The Izu Dancer (Japanese, 1925)
|
Kawabata Yasunari
|
324-335
|
||
Kafka
|
The Metamorphosis (Czech, 1912)
|
Kafka
|
210-241
|
|
Absurdist Theatre
|
Six Characters in Search of an
Author (Italian, 1921)
|
Luigi Pirandello
|
263-303
|
|
The Literature of Trauma
|
This Way for the Gas, Ladies and
Gentlemen (Polish, 1946)
|
Tadeusz Borowski
|
695-707
|
Postwar
and Post-Colonial Lit
1945-1968
|
Existentialism in Africa
|
Zaabalawi (Egypt, 1963)
|
Naguib Mahfouz
|
884-892
|
Modernism
|
House Taken Over (Argentine, 1946)
|
Julio Cortazar
|
689-692
|
|
Existentialism
|
The Guest (Algerian, 1957) (Mediterranean
Lit)
|
Albert Camus
|
754-762
|
|
Contemporary World Lit
|
Magic Realism
|
The Perforated Sheet (India, 1980)
|
Salman Rushdie
|
1131-1143
|
Magic Realism
|
Death Constant Beyond Love (Colombian,
1970)
|
Gabriel Garcia Marquez
|
988-993
|
|
Existentialism
|
The Deep River (South African, 1977)
|
Bessie Head
|
1100-1104
|
|
Modernism
|
The Novel in Africa (South African,
1999)
|
J.M. Coetzee
|
1262-1275
|
|
Modernism
|
The Women’s Swimming Pool (Lebanese,
1982)
|
Hanan Al-Shaykh
|
1166-1171.
|
No comments:
Post a Comment