Inmenso estrecho : obstacles to achieving post-inmigration identity change in spanish short fiction. 'Inmenso estrecho: obstáculos para conseguir un cambio en la identidad post-inmigratoria en el relato de ficción español'.

Se realiza un análisis de 'Inmenso estrecho', obra que recopila relatos sobre inmigración escritos por 25 autores y que presenta una panorámica de las reacciones que provoca la inmigración en España. Se reflexiona sobre los distintos relatos y sobre el comportamiento de los personajes y se ponen en relación con los descritos por el psicólogo Salman Akhtar que ha estudiado los procesos de adaptación de los inmigrantes a los países de acogida.

Bleeding: A Collection of Poetry and Short Fiction

Poetry Short Stories

Short fiction of Thomas Hardy: an exploration and assessment

Hardy's novels and poetry have received extensive criticism, in due proportion to their merit. Hardy's short stories, however, have been virtually excluded from the annals of Hardy criticism, even though Hardy wrote over forty short stories, several of which are truly outstanding. In part, the reason for this neglect is because of the neglected state of the short story in Victorian England. Short fiction, published mainly only in periodicals and never collected in volume form, was obscured to a large extent by the highly popular serial novel. This thesis examines Thomas Hardy's short stories in the context of both the Victorian period and the Victorian short story genre, and explores the ways in which Thomas Hardy improved upon and deviated from some of the common types of short fiction being written in his day.

More than a mere story : social and political markers in Australian short fiction of the 1980's

This thesis is a literary history which argues that much of the short fiction published in Australia during the 1980s was deeply influenced by the rapid social and political changes during that decade. My argument concentrates on links between the short stones of the period and the socio/political environment into which they were written. The decade was marked by massive changes in technology, the workplace, and in all other areas of social life. In general terms, the ideology of the 'market' predominated over notions of small 'l' liberalism and the last vestiges of state intervention in the economy. The Australian short story benefited from the social 'experiments' of the 1970s in that its concerns became broader - encompassing the onslaught of feminism, the foregrounding of 'multicultural' concerns, and a move away from the bush into the city as a primary site for narratives. The decade was a rich period for the genre. Why was there a tolerance for a new diversity, in literary terms, when the social and political environment was turning to the right? This is a central question of the thesis. I argue that instead of the 'base' determining the 'superstructure' (i.e. culture) the superstructural changes were essential to the deconstruction of the social and political landscape. This thesis contends that a relationship always exists between the 'literary' and 'the social'. I argue, among other things, that many of the short fictions were influenced by 'postmodern' theory to the extent that they became a form of traumatic note-taking, which masked a late romanticism beneath a fear of the sovereign subject. The fear of 'closure' which insinuated itself into many of the texts, besides being a form of academic corrective, was also a flight from emotional candor. I argue that storytelling was, in many cases, the loser.

Abuse of power, oppression and the struggle for human rights in modern indonesian short fiction

 Across the 1990s, Indonesian writers used the short story genre to represent human rights abuses in Indonesia.These rights included freedom of speech, right to life and right to assembly. The short story had great impact, depicting dramatically both perpetrators and victims, and exposing the social, economic and political conditions which bred such abuses.

Napalm and After: The Politics of Grace Paley's Short Fiction

Comparatively few contemporary writers have accompanied American POWs home from Hanoi, been arrested on the White House Lawn, or been dragged off in shackles to serve time in the Greenwich Village Women's House of Detention. Paley's pacifist, socialist politics are also deeply rooted in a family past where memories were still fresh of Tsarist oppression - one uncle shot dead carrying the red flag, and parents who reached America only because the Tsar had a son and amnestied all political prisoners under the age of twenty-one. At this point, Paley's father (imprisoned in Archangel) and her mother (in exile) took their chances (and all their surviving relatives) and very sensibly ran for their lives. Her grandmother recalled family arguments around the table between Paley's father (Socialist), Uncle Grisha (Communist), Aunt Luba (Zionist), and Aunt Mira (also Communist). Paley's own street-wise adolescence involved the usual teenage gang fights, between adherents of the Third and Fourth Internationals. This article is copyright MHRA 2001, and is included in this repository with permission.

Fiction in oils

Comprises a collection of seventeen stories based on Australian women's paintings and a critical exegesis that together represent a creative and theoretical response to the ways in which short fiction writing can be informed by visual art.

The coming

Through an exploration of representations of metamorphosis and the creation of a body of written work, this thesis uses a critical examination of theoretical approaches to metamorphosis in combination with textual analysis of representations of metamorphosis and creative practice as research to arrive at the beginnings of an ethic of writing. The creative work, The Coming, consists of a collection of short fiction, The Coming, and two collections of poetry, Orison and Milagros. The exegesis, Transhuman Change: towards an ethic of writing, explores theories about metamorphosis as a figure for writing, as a trope, and as a motif for exploring identity to contextualise the analysis of representations of metamorphosis from which the ethic is developed. With reference to the psychosexual development theory of Jacques Lacan and Elaine Scarry’s philosophy of the body, pain, language and creativity, the exegesis examines existing approaches to metamorphosis and uses supplementary textual analysis of influential representations of metamorphosis from Ovid to Pygmalion, X-Men and Extreme Makeover to explore assumptions about the body, language, the self, gender in western culture. The limitations of the performance of representations of metamorphosis as a figure for the self’s survival of death are considered in the light of voice as metonym for self to propose an ethic which valorises life. The experience of sex and the construction of gender in representations of metamorphosis are considered in the light of Lacan’s theory of desire and Scarry’s theory of the body and language to propose an ethic of representing gender ironically. The motif of the faithless lover and the Pygmalion myth are considered in the light of the (m)other’s role in language to propose an ethic in which indeterminacy constitutes the condition for being aware of oneself among selves. Each of the three proposals is discussed in relation to the short fiction, memoir and poems produced in the course of this research to test their limits and possibilities as the foundation of an emerging ethic of writing.