الرواية المعاصرة مقدمة قصيرة جداً

Very Short Introductions #362

by Robert Eaglestone, لطفية الدليمي (ترجمة وتقديم)

يتفق النقاد ومنظروا الدراسات الثقافية ودارسو تأريخ الأفكار أن الرواية أحد أهم الابتكارات الثقافية التي جاءت بعد عصر التنوير الأوربي، وقد كتب الكثير بشأن الفن الروائي منذ القرن الثامن عشر حتى يومنا هذا.

https://www.abjjad.com/book/268969575...

Genres: Nonfiction, Literary Criticism, Literature, Audiobook, Criticism, Essays, Philosophy

Unknown Binding

First published July 25, 2013

About the author

Robert Eaglestone (born 1968) is a British academic and writer. He is Professor of Contemporary Literature and Thought in the Department of English at Royal Holloway, University of London. He works on contemporary literature, literary theory and contemporary European philosophy, and on Holocaust and Genocide studies.

His work explores how literature ‘thinks’, especially in relation to issues of ethics. This was the subject of his first book, Ethical Criticism: Reading After Levinas, on literary theory and the philosopher Emmanuel Levinas. This focus on ethics broadened to a concern with ethical relationships to the past, centrally the Holocaust, other genocides and atrocities, in The Holocaust and the Postmodern. His work draws on memory studies and trauma studies, as well as on the thought of Jacques Derrida and Hannah Arendt.

He works widely on contemporary literature, including Salman Rushdie and J. M. Coetzee and is the author of Contemporary Literature: A Very Short Introduction. In that book he writes:

Literature thinks. Literature is where ideas are investigated, lived out, explored in all their messy complexity… Perhaps… ‘think’ is not the right word: ‘think’ is too limiting a description of the range of what a novel can do with ideas. In any event, the way literature thinks is bound up with what it’s like to be us, to be human. Literature is how we make ourselves intelligible to ourselves. And contemporary fiction matters because it is how we work out who we are now, today.

He is also concerned with the teaching of literature, and has written the text book Doing English, a Guide for Literature Students; edits a series of books introducing major thinkers, Routledge Critical Thinkers, and is a commentator in the national press on literature teaching at school and in Higher Education.

He lives in Brixton, London, and has two children.

Reviews

[Paul Bryant · Rating 2 out of 5]

Had we but world enough, and time,
This pile of novels were no crime.
We would sit down and think which way
To pass our blissful reading day;
My library should then grow
Vaster than empires, and more slow.
An hundred years should go to praise
The minor works of Casimiro Paiz;
We’d have such long years to behold,
We’d even re-read Alice Sebold;
O Literature, my one obsession!
One single life is drear compression.
And at my back I always hear
Time's supermarket trolley hurrying near;
My credit card is almost dead;
My TBRs are still unread.
The grave to which we all must dwindle
Does not, I’m told, allow a Kindle
Now therefore, while the youthful hue
Sits on thy skin like morning dew,
Now let us read us while we may;
And now, like geeky birds of prey,
Rather at once our books devour!
Don’t go to work but seize the hour!
So let us all spontaneously
Read all our books simultaneously!


With apologies to Andrew Marvell

[Marc Nash · Rating 4 out of 5]

Nice, simply written overview of where we currently sit with the contemporary novel. Considers the step back from the high experimentalism of both Modernism & post-modernism that fiction seems to have taken with a modicum of humility & an awareness that it can't really effect change anymore (unlike the consciousness raising of say "Uncle Tom's Cabin" or "The Grapes Of Wrath".

It considers the contemporary approach to time, of past, present & future & in doing so nail historical novels as really offering so little, the present concerns with migration/the immigrant experience and terrorism and the future through technology, both our actual gadgets but he also brilliantly analyses as 'technical thinking' and just where art and literature fits in to that.

All in all a very good, quick summary.

[Mattia Ravasi · Rating 5 out of 5]

Three Very Short Introductions to Literary Criticism

It does favor a few key topics and features over other possible ones (as these things, inevitably, must do, let alone one of this size), and I'm not that sold on that chapter about genres, but that said, it acknowledges the conundrums of criticism in a very honest way while managing to move past them and make a convincing and heartfelt case for how good criticism is needed in today's world.

[Hameed Younis · Rating 5 out of 5]

الرواية بوصفها أحد أهم الابتكارات الفنية والثقافية اليوم ومنذ عصر التنوير، طرأت عليها (وما زالت تطرأ) عليها الكثير من التقلبات. ولا أزعم أن الكثير منها سهلاً مستساغاً ولكن يمكن أعتبار مراحل تطور الرواية الحديثة مثل درجات السلم، نرتقي ونصعد ونهبط ونراوح لا بأس في كل الأحوال
الكتاب غني وفريد من نوعه، وينبهنا –نحن القراء العرب- إلأى التحول العظيم في الرواية المعاصرة دون أن نكون جزء فاعل فيها

[Patrick Neylan · Rating 4 out of 5]

At first I didn't like this book. It's certainly a short introduction, but it didn't seem very simplified. I've got a degree in English (albeit not modern English literature), so I was surprised to find it as difficult as I did. Eaglestone seems to be in awe of Sarah Waters; the attention he gives her in the early chapters seems disproportionate, but thankfully he gives other authors equal attention later on and the book recovers its balance.

Eaglestone makes some bold assertions without feeling the need to back them up. The most glaring of these is that modern people have far more complex and difficult lives than their ancestors. This is arguable, to say the least.

But it's worth persevering. Eaglestone does know his stuff, and the occasions when his political bias intrudes are rare enough to be forgiven. A good critique enables a reader to form an opposite opinion, and his praise for Nicola Barker's Darkmans is enough to convince me that this is a terrible example of up-its-own-backside literature to be avoided at all costs. Elsewhere, his takedown of Extremely Loud and Incredibly Close by Jonathan Safran Foer for its use of a child narrator - simplifying and thus avoiding the issues - seems spot-on.

I wasn't convinced till I read the final chapter on criticism, which added something new (to me) and put the rest of the book into proper context.

[Sam · Rating 3 out of 5]

3.25/5

Excerpts:

Science fiction is the future told with rules from the present.

It isn't us that use language, but language that uses us. [...] Our everyday language is possessed by the past.

We can't ignore the words we use.

It becomes increasingly hard to tell who is speaking, until slowly it begins to feel like the book itself is commenting on its own text.

Totalitarian solutions may well survive the fall of totalitarian regimes.

The task of the reader, another critic, is to say "yes, but".

[Avery · Rating 4 out of 5]

Exactly what the title suggests

[Harish Namboothiri · Rating 2 out of 5]

The writer describes a lot about novels, their form, style, genre and several other details. In that way, the book is informative. But I don't find it providing much insights into contemporary fiction.

[Daniel Wright · Rating 2 out of 5]

One of the reasons I try to read lots of Old Books is that their quality is already self-selected. No-one reads the bad Old Books any more, so you don't have a glut of things to choose from. If you try to read the coming thing all the time, and stay at the cutting edge, you'll just end up reading the occasional gem in a pile of shoddy rubbish. Moreover, it is likely that the overall trends and the under-currents of unquestionable assumptions will be completely invisible to you anyway - it is only with hindsight that these things can be seen. From these arguments you might gather that I am thoroughly averse to the entire concept of studying 'contemporary fiction'.

In fairness to him, the author of this book candidly admits that it is likely to be out of date in as little as ten years after being written. Indeed, some parts are showing their age in as little as two. So why bother writing it? Or reading it? (Or writing reviews about it on the internet?)

The author is an academic literary critic, and the culmination of this essay is essentially a defence of his craft and what it is good for. (He includes a number of cynical comments about critics, but for some reason omits the traditional jibe about critics being failed writers with chips on their shoulders...) He has a number of perceptive things to say about the contemporary novel, although inevitably it is really a history of the novel in the last century or so. These things, as well as the fact that he is a clear and engaging writer, slightly redeem the book in my eyes, even if it is ultimately doomed, like so many, to a speedy oblivion.

Chapter 1: Saying everything
Chapter 2: Form, or, what's contemporary about contemporary fiction?
Chapter 3: Genre
Chapter 4: The past
Chapter 5: The present
Chapter 6: The future
Chapter 7: Conclusion: 'Hey everyone, look at that beautiful thing' / 'Yes, but...'

[Ineffablyschmoo · Rating 5 out of 5]

An excellent and thought-provoking introduction to contemporary fiction.

This book was short, succinct, and refreshingly clear about its place and what it offers the reader. It takes a somewhat personal yet illuminating approach to introducing contemporary fiction, by talking through ways to define it, ways to problematize definitions of any kind, and the themes that occur in contemporary fiction under the headings of "the past", "the present" and "the future". It doesn't pretend to be comprehensive, or to be affirming any notion of a canon of contemporary fiction; in fact, it positions contemporary fiction as something which acts against any definitive and normative views of what fiction is or should be. It left me with a reading list as long as my arm to follow up on, and with a sense of greater confidence to engage in literary criticism and with literary theory.

[Vanessa · Rating 3 out of 5]

This is a good summary of some aspects that are important in contemporary fiction, but it will not replace a deeper search into a specific topic that you are interested in. It gives you a overlook that can work as a starting point for further research.

[Vikas Datta · Rating 5 out of 5]

A very succinct but compelling introduction... valuable insights in lucid prose.

[Ally Shand · Rating 4 out of 5]

Lucid and insightful.

[Lisa · Rating 4 out of 5]

This Very Short Introduction to Contemporary Fiction is a very interesting little book!

From the first words of the introduction to the last chapter about literary criticism, I found myself constantly nodding in agreement, with only an occasional demurral in between because I wasn’t keen on some of the books he lauds:

Literature thinks.

Literature is where ideas are investigated, lived out, explored in all their messy complexity. Sometimes these ideas look quite simple: What if you fell in love with someone who seems quite unsuitable for you? What happens if there is a traitor in your spy network? Sometimes they might appear more complicated: How can I reconstruct my memory of an event I can’t recall? Perhaps, too, ‘think’ is not the right word: ‘think’ is too limiting a description of the range of what a novel can do with ideas. In any event, the way literature thinks is bound up with what it’s like to be us, to be human. Literature is how we make ourselves intelligible to ourselves. And contemporary fiction matters because it is how we work out who we are now, today.

I believe the novel is the best way of doing this. Of all the arts, the novel is the most thoughtful, the closest, the most personal. Unlike the visual arts or music or computer games, the novel uses only language. Nearly every one of us is an expert user of language and, more importantly, nearly everyone is an expert creator in language. Every day we use words to express ourselves and to tell stories, to make patterns out of our reality. We all share and thrive in language: we are much more intimate with the novel’s medium than we are with theatre or film. Unlike much poetry or painting, fiction has narrative, sometimes in complex ways. We share this with the novel too, because each of us, in the stories we tell every day, is a skilled author and weaver of narrative. We can all judge a novel by the high and demanding standards of our own use of words and stories and by our own patterns of reality. Because it takes longer to read a novel than it does to see a film or listen to a piece of music and because novels demand more time and energy, they are more immersive. This is the origin of phrases like ‘losing yourself in a book’ or ‘the book speaks to me’ as if a novel was more than just ink on a page or words on a screen. We live in novels more than any other art form, and after reading them, they stay with us (an after-reading). The novel is still the art form most deeply and directly engaged with us. (p.1-2)

Eaglestone pays homage to the variety of forms that contemporary fiction can take, and he says that because a novel might go anywhere or do anything it’s not possible for anybody to be an expert in the usual sense of the word. He also admits that anything he says is going to be out-of-date within a decade.

His chapter headings show the directions he takes:

Chapter 1: Saying everything
Chapter 2: Form, or, what’s contemporary about contemporary fiction?
Chapter 3: Genre
Chapter 4: The past
Chapter 5: The present
Chapter 6: The future
Chapter 7: Conclusion: ‘Hey everyone, look at that beautiful thing’ / ‘Yes, but…’

I enjoyed the chapter on form, where Eaglestone acknowledges that contemporary authors make more demands on readers than authors of previous eras.

To read the rest of my review please visit https://anzlitlovers.com/2017/08/03/c...

[Samuel · Rating 2 out of 5]

I could not quite believe how many errors there were in this little book. Not just typographical, but also factual. Authors are misnamed, the grammar is off... it seems like it was rushed for the deadline given by the publishers, and then those publishers did not thoroughly read through it. It’s not terribly well-written either, which is disappointing; and the conclusion of the book is quite shockingly bad. There are some useful passages (that probably are lifted from the academic’s other work), but actually I think there are a lot better books to consult for an overview of contemporary fiction than this shoddy attempt. Its grip of postmodern theory is to be admired, at least, but the way it analyses texts is not in-depth or convincing in the slightest. It just reads like it was scrabbled together in a week or two, unedited, for the money, and the publishers trusted the academic’s judgement.

[chantel nouseforaname · Rating 5 out of 5]

I love this A Very Short Introduction series! So good. I'm gonna read my way through all of them one day.

This piece of the series was fantastic. I really enjoyed the critical look into Contemporary Fiction of the past and present. I liked that there was deep questions and insight into Intersectional frameworks that may have existed in early contemporary fiction but was hidden/disguised by different authors for one reason or another.

I like that reading this expanded my personal read list and explained elements to popular and obscure contemporary fiction that I had long been curious about.

Reading about one topic in detail is also comforting for some reason. I experienced a sense of peace, oddly enough, reading this in the early mornings on the way to work.

[SUMAYA]

⁨ #الرواية_المعاصرة #مقدمة_قصيرة_جدًا
#روبرت_إيغلستون
#لطفية_الدليمي

- لا أظن أن هناك من يتجرأ على التبشير بـ (موت الرواية) في خضم العقود القليلة القادمة حتى لو تعاطم المد الرقمي وتغوّلت وسائله وإمكاناته التقنية
#تيري_ايغلتون
- يُعنى الأدب بالكيفية التي نجعل بها أنفسنا واضحة ومفهومة لنا؛ ومن هنا تنبع أهمية الرواية المعاصرة لأنها ترمي في المقام الأول وقبل كل شيء لأن ترينا من نحن في زماننا هذا الذي نعيشه
- ان التأكيد المفرط على كون الأشياء "حقيقية" هو واحد من أكثر الأمور غير الحقيقية التي يمكن أن توجد في الحياة
- بعض مخاطر العولمة تكمن في قدرتها على جعل الناس يفقدون شعورهم بكونهم كائنات مترابطة الوجود مع الآخرين، بل باتوا يستشعرون هامشيتهم المتفاقمة ككائنات بشرية في وجه القوى العالمية المتغولة التي تعمل بعيدًا عن تطلعاتهم الفردية⁩

[Carolyn Harris · Rating 4 out of 5]

Contemporary fiction is too vast a topics for a very short introduction but I enjoyed the essays in this book about how contemporary novelists are responding to the past, present and future in their work. The chapter about the past was especially interesting to me as it discusses the different kinds of anachronism in historical fiction and and how historical novelists address collective memory and the impact of the past on the present. This book could easily have been much longer to address more themes in everyday life that are the focus of contemporary novels in addition to the big global issues discussed by the author.

[Donald Schopflocher · Rating 3 out of 5]

I was a bit disappointed that this work, rather than being an attempt to consider the characteristics of post- postmodern fiction, was a review of fiction (generally literary fiction) written in the decade between 2000-2010 under the general headings of Past, Present, and Future (along with a brief discussion of the importance and unimportance of genre). Like most works of literary criticism, it helps to have read the works chosen for coverage, and I blanch a bit when the author summarizes works that I have just put on my to-read list.

There were some neat insights though: “Writing about the past IS writing about the present”; Totalitarianism is a process of making humans as humans superfluous (Hannah Arendt); Techne is a word applied by the ancients to both technology & skilful art (Heidegger); The right response to literary criticism may not be to ignore it because it ‘kills literature’ but rather to take insights from it and then react with “yes, but…”

[Leonard Mollusks · Rating 5 out of 5]

[ ေခတ္ၿပိဳင္ဆိုတာ လြန္ခဲ့တဲ့ ဆယ္ႏွစ္ေလာက္ကို ေျပာတာပဲေဟ့ဆိုၿပီး သို႔မဟုတ္ ထိုကဲ့သို႔ ပံုစံမ်ိဳးေျပာၿပီး ႐ႈပ္ေထြးလြန္းေသာ ျငင္းခံုမႈကို ယခုစာအုပ္က ႐ိုး႐ိုး႐ွင္း႐ွင္းပဲ ျဖတ္ခ်လိုက္ရန္ ရည္႐ြယ္ထားပါသည္။ ] - ေခတ္ၿပိဳင္ဝတၳဳစာအုပ္မွ /

…….

ေခတ္ၿပိဳင္ဆိုတာဘာလဲ ?
ေခတ္ၿပိဳင္ဝတၳဳဆိုတာဘာလဲ ?

ေခတ္ၿပိဳင္နဲ႔ ေခတ္ၿပိဳင္ဝတၳဳအေၾကာင္းကို စတင္မိတ္ဆက္ရာမွာ

- ဝတၳဳရဲ႕ ပံုသဏၭာန္
- ဝတၳဳရဲ႕ လက္ရာအမ်ိဳးအစား

ဒီႏွစ္ပိုင္းနဲ႔ ဝတၳဳကို အရင္ဆံုး ခ်ဥ္းကပ္ျပထားတယ္။ ရီယယ္လစ္ဇင္ကစတယ္။ ေမာ္ဒန္ကိုလည္း ေဆြးေႏြးထားတယ္။ ရီယယ္လစ္ဇင္နဲ႔ ေမာ္ဒန္ၾကားက ဆက္စပ္မႈကိုလည္း ခ်ျပသြားတယ္။ အခန္းတစ္ခုထက္ တစ္ခု ပိုၿပီး စိတ္ဝင္စားဖို႔ေကာင္းလာတာ ေတြ႕ရတယ္။ ပံုသဏၭာန္အေၾကာင္း ေဆြးေႏြးၿပီးလို႔ လက္ရာအမ်ိဳးအစားအေၾကာင္း တင္ျပရာမွာ လက္ရာအမ်ိဳးအစားနဲ႔ စာေပဖန္တီးမႈ၊ စာေပအမ်ိဳးအစားေတြကို ႐ွင္း႐ွင္းလင္းလင္း ေျပာျပထားတယ္။

စာအုပ္ကုိ လက္ကမခ်ခ်င္တဲ့ အေၾကာင္းတစ္ခုက လက္ရာအမ်ိဳးအစားက႑မွာ။ အဲ့ဒါက ‘ထူးဆန္းေသာ အင္စတီက်ဴး႐ွင္း’ ေခါင္းစဥ္ငယ္ေအာက္က စာေပဆိုတာ အင္စတီက်ဴး႐ွင္းႀကီးတစ္ခုျဖစ္ေၾကာင္း တင္ျပထားတဲ့အပိုင္းပဲ။ ဒီအင္စတီက်ဴး႐ွင္းမွာ ေခတ္ၿပိဳင္ဝတၳဳကလည္း ႀကီးမားတဲ့ အင္စတီက်ဴး႐ွင္းျဖစ္ေၾကာင္းကို

- အတိတ္
- ပစၥပၸဳန္
- အနာဂတ္

ဆိုတဲ့ အခန္းသံုးခန္းေအာက္မွာ ဆက္လက္တင္ျပရင္း ‘ေခတ္ၿပိဳင္ဝတၳဳ’ ဆိုတာကို ထဲထဲဝင္ဝင္ ေျပာျပသြားတယ္။ ဒီအခန္းသံုးခန္းမွာ ေခတ္ၿပိဳင္ဝတၳဳနဲ႔ ေခတ္ၿပိဳင္လူသားေတြ - မ်က္ေမွာက္ေခတ္လူသားေတြရဲ႕ ျပႆနာ၊ လက္႐ွိကမၻာႀကီးရဲ႕ မ်က္ျမင္အေျခအေနနဲ႔ ျဖစ္ပ်က္ေျပာင္းလဲပံုေတြ၊ ၿပီးေတာ့ ႏိုင္ငံေရးျဖစ္စဥ္ စတဲ့ အေျခအေနေတြက ေခတ္ၿပိဳင္ဝတၳဳကို ဘယ္လိုမ်ိဳး ပံုေပၚလာေစသလဲ ? ေခတ္ရဲ႕ သ႐ုပ္နဲ႔ ေခတ္ၿပိဳင္ဝတၳဳတို႔ ပတ္သက္ ဆက္ႏြယ္ေနပံု၊ ဆက္ၿပီး ေခတ္ၿပိဳင္ဝတၳဳေတြထဲမွာ ေခတ္ၿပိဳင္လူသားနဲ႔ ကမၻာႀကီးရဲ႕ အရိပ္ေတြ ထင္ဟပ္ေနပံု၊ ဝတၳဳေတြရဲ႕ တံု႔ျပန္ပံုနဲ႔ အေ႐ြ႕အေနအထားကို ခ်ဥ္းကပ္ျပထားတယ္။

📕 မူရင္းစာအုပ္ - Contemporary Fiction
✍ မူရင္းစာေရးဆရာ - Robert Eaglestone
📝 ဘာသာျပန္စာေရးဆရာ - သူရိန္လူေလး
🔲 ထုတ္ေဝသည့္တိုက္ - MKS Publishing
🔲 စာအုပ္ေစ်းႏႈန္း - ၃,၀၀၀ က်ပ္

ဒီစာအုပ္ကို ေရးတဲ့ ပါေမာကၡ အီးဂဲလ္စတုန္းဟာ University of London နဲ႔ Royan Holloway ေကာလိပ္ရဲ႕ ေခတ္ၿပိဳင္စာေပနဲ႔ အေတြးအေခၚဌာနမွ ပါေမာကၡ၊ နာမည္ေက်ာ္ Routledge Critical Thinkers စီးရီးရဲ႕ တည္းျဖတ္သူလို႔ သိရတယ္။ ဒီစာအုပ္ကို သူရိန္လူေလးက ဘယ္လို ဘာသာျပန္ခဲ့သလဲ ? ဘာေၾကာင့္ ဘာသာျပန္သလဲ ? ဆိုတာကို အမွာစာမွာ ခုလိုေတြ႕ရတယ္။

“ဘာသာျပန္ဖို႔ စာေၾကာင္းေတြနဲ႔ ျဖည့္တဲ့အခါနဲ႔ စကားလံုးတင္းအား အတိုးအေလွ်ာ့ကို ဆံုးျဖတ္ရာမွာေတာ့ စာေပဆိုင္ရာ စိတ္ဝင္စားသူေတြကိုပဲ ဦးတည္ၿပီး က်ေနာ္ အလုပ္လုပ္ခဲ့ပါတယ္။ စာေပဆိုင္ရာနဲ႔ ပတ္သက္လို႔ ေဆာင္းပါးျပန္ေျပာမယ္၊ တစ��ဆင့္ျပန္ေျပာမယ္ ဆိုတာေတြလည္း ႐ွိသလို၊ တိုက္႐ိုက္ဘာသာျပန္ေတြလည္း ႐ွိသင့္တယ္ထင္လို႔ ဘာသာျပန္ဆိုျခင္းလည္း ျဖစ္ပါတယ္”

စာဖတ္သူအျမင္ ⏭ ပညာရပ္ဆိုင္ရာ စာအုပ္ျဖစ္ေပမဲ့ ဖတ္ရမခက္ဘူး။ စာေပဆိုင္ရာ သီအိုရီေတြ သေဘာတရားေတြ အေျခခံ မသိထားရင္ေတာင္ ဖတ္လို႔ရတဲ့စာအုပ္။ ဒီစာအုပ္ဖတ္ဖို႔ ေဘာပင္နဲ႔ မွတ္စုစာအုပ္႐ွိဖို႔ေတာ့ လိုမယ္။ ‘ဖတ္ၿပီးသိမ္းထား’ ‘ဖတ္ၿပီးအလွထား’ မဟုတ္ဘဲ ‘ဖ���္ၿပီးျပန္ဖတ္’ ‘မၾကာခဏျပန္ဖတ္’ သင့္တဲ့ စာအုပ္ျဖစ္တယ္။

ဘာသာျပန္ အေရးအသား ⏭ မူရင္းစာအုပ္ ဘယ္လိုမွန္းမသိသလို ကိုယ္လည္း မူရင္းစာအုပ္ကို မူရင္းစာေရးသူ အာေဘာ္မိေအာင္ ဖတ္ႏိုင္သူ မဟုတ္ေတာ့ ဒီစာအုပ္ရဲ႕ ဘာသာျပန္အေရးအသားကို ထူးၿပီး မေျပာတတ္ဘူး။ စာဖတ္သူတစ္ေယာက္အေနနဲ႔ အျမင္ကိုေျပာရင္ သူရိန္လူေလးရဲ႕ ဘာသာျပန္အေရးအသားကို *နားလည္တယ္* *ေခါင္းထဲေရာက္တယ္* *ဖတ္ရင္းလည္သြားတာမ႐ွိဘူး*

အက်ိဳးေက်းဇူး ⏭ ဝတၳဳေတြ ဘယ္လိုအလုပ္လုပ္သလဲ ? ( စာအုပ္ထဲက စကားလံုးအတိုင္း ျပန္သံုးရရင္ ) ဝတၳဳေတြ ဘယ္လိုေတြးသလဲဆိုတဲ့ ဝတၳဳေတြရဲ႕ ေတြးပံု၊ ဝတၳဳေတြ ဖြဲ႕စည္းထားပံု၊ သူတို႔ရဲ႕ တန္ဖိုးနဲ႔ ကမၻာႀကီးထဲက ‘ဝတၳဳရဲ႕အခန္းက႑/ေနရာ’ ကုိ သိ႐ွိသြားမယ္။ ကိုယ္ လက္႐ွိ ဖတ္ေနတဲ့ ဝတၳဳေတြကို ေလးေလးနက္နက္ ႐ႈျမင္တတ္လာမယ္။ စာေရးဆရာေနာက္ကေန ေနာက္လိုက္အျဖစ္၊ ဒါမွမဟုတ္ သူ႔ရဲ႕ ဝတၳဳထဲ နစ္ေနမွွာ ( ရသခံစားမႈတစ္ခုတည္း ေ႐ွ႕တန္းတင္မိမွာ ) မဟုတ္ဘဲ စာေရးသူနဲ႔ သူေရးတဲ့စာ သူေနထိုင္တဲ့ေခတ္ ကို ေဘးကေန ထိုင္ၾကည့္ အကဲခတ္တတ္လာမယ္။

အခက္အခဲ ⏭ စာအုပ္ထဲမွာ သံုးသပ္ ထုတ္ႏုတ္ ခ်ဥ္းကပ္ျပထားတဲ့ စာေရးဆရာနာမည္ေတြနဲ႔ စာအုပ္အမည္ အမ်ားစုက သာမန္စာဖတ္သူအတြက္ စိမ္းေနမယ္။ ဒါေပမဲ့ ဒါကို ေက်ာ္ၿပီး ေျပာခ်င္တဲ့ အဓိကအေၾကာင္းအရာကို အာ႐ံုစိုက္ႏိုင္မယ္ဆိုရင္ ဖတ္ရ အက်ိဳးယုတ္မွာ မဟုတ္ပါဘူး။ တခ်ိဳ႕အေၾကာင္းအရာေတြမွာ ဦးတည္ခ်က္တစ္ခုအတြက္ သိုင္းဝိုင္းေဖာ္ျပတဲ့ အခ်က္အလက္ေတြက မ်ားသြားတဲ့အခါ ကုိယ္ဖတ္ေနလက္စ ေပ်ာက္သြားတတ္တဲ့အတြက္ *အာ႐ံုစိုက္ဖတ္ဖို႔* ေတာ့ လိုမယ္။

မွတ္စုအခ်ိဳ႕ ⏭ စာအုပ္ထဲက ကိုယ္မွတ္ထားတဲ့ ပို႔စ္ေမာ္ဒန္နဲ႔ ပတ္သက္တဲ့ မွတ္စုအခ်ိဳ႕ကို ခုလို ေဖာ္ျပမယ္။ ပို႔စ္႐ွည္မွာစိုးလို႔ စိတ္ဝင္စားမယ္ ထင္တာေတြကို ေ႐ြးထုတ္လိုက္တယ္။ ( ေခါင္းစဥ္တိုက မိမိဘာသာ အလြယ္ တပ္ထားျခင္းပဲ ျဖစ္တယ္ )

[ ပို႔စ္ေမာ္ဒန္ ]

➡ ဒါဟာ ဝတၳဳျဖစ္သည္၊ ဖန္တီးထားျခင္းသက္သက္ျဖစ္သည္ ဆိုသည့္ အခ်က္ကို အသားေပးေဖာ္ျပေနရျခင္းကို ပို႔စ္ေမာ္ဒန္ဝတၳဳက ႏွစ္သက္သည္။ စာသားမ်ား သို႔မဟုတ္ ထုတ္လုပ္ထားသည့္ စာ႐ြက္၊ စာအုပ္ပံုစံကိုေတာင္မွ ကစားသည္။ ႐ႈပ္ေထြးေသာကမၻာကို ေက်နပ္စြာကို ဖန္တီးသည္။ ထိုကမၻာတြင္ မက္ဂ်စ္မ်ား အလုပ္လုပ္တာမ်ိဳး၊ အလုပ္မလုပ္တာမ်ိဳးေတြ ျဖစ္ပြားသည္။ သို႔မဟုတ္ စာသားသည္ စိတ္ကူးဖန္တီးမႈတစ္ခုသာ ျဖစ္ေသာေၾကာင့္သာလွ်င္ အလုပ္လုပ္ေနသည္ဟု ျမင္သည္။

➡ ရီယယ္လစ္ဝတၳဳသည္ စာဖတ္သူကို ေတြးရမည့္အရာကို ‘ေျပာသည္’ ဆိုလွ်င္ ပို႔စ္ေမာ္ဒန္ဝတၳဳသည္ အနက္ျပန္မႈအလုပ္ကို အသားေပးသည္။

အပိတ္ကို ျငင္းဆိုျခင္းႏွင့္အတူ အလုပ္လုပ္ေလ့႐ွိေသာ ပို႔စ္ေမာ္ဒန္ဝတၳဳမ်ား၏ ေနာက္ထပ္လကၡဏာႀကီးတစ္ခုလည္း ႐ွိသည္။ ထိုလကၡဏာႀကီးကုိ မၾကာခဏလည္း မသိက်ိဳးကၽြံျပဳၾကေလ့႐ွိသည္။ ပို႔စ္ေမာ္ဒန္ဝတၳဳမ်ားသည္ ကိုယ္က်င့္တရား၊ ႏိုင္ငံေရးတို႔ႏွင့္ နက္နက္႐ိႈင္း႐ိႈင္းကို ပတ္သက္ေနသည္ဆိုသည့္ အခ်က္ျဖစ္သည္။

[ ပို႔စ္ေမာ္ဒန္ဝတၳဳအမ်ားစုတြင္ တူညီေနသည့္ အယူအဆတစ္ခု ]

➡ ဝတၳဳတစ္ပုဒ္သည္ စာသားသက္သက္ျဖစ္ၿပီး အစစ္အမွန္မဟုတ္မႈ၊ အျခားအေရးအသားမ်ားကို ျပန္လည္အသံုးျပဳမႈ၊ စာသားကို အနက္ျပန္ရာတြင္ စာဖတ္သူ၏ အခန္းက႑ကို အေလးေပးေျပာခ်င္မႈ၊ အပိတ္ကို ပယ္မႈ၊ ပင္မေရစီးသမိုင္းႏွင့္ ကိုယ္စားျပဳမႈမ်ားဆီမွ ဖယ္ထုတ္ခံခဲ့ရသည့္ အသံမ်ားကို ထည့္သြင္းမႈ။

.......

#contemporary_fiction
#robert_eaglestone
#သူရိန္လူေလး

#MpL_BookReport

[FrancescoInari · Rating 5 out of 5]

It's quite simply perfect for what it tries to do. In a very short composition of 7 chapter divided into about 100 pages, professor Robert Eaglestone traces the most important aspects of contemporary literature, from form to the development or evolution of genre, up to the trifecta of how past, present and future exist and coexist in literature. Sublime

[Mohammed الصوفي · Rating 4 out of 5]

كتاب غني المحتوى، ممتع، وفاتح للبصيرة. سيحبه من ينوي تقديم عمل، او من يسعى ليطور ذائقته في التلقي لهذا الفن الجميل، حيث يمكن قول كل شيء.
الترجمة ممتازة جدا، الا ان صوت المترجمة مشوش قليلا على صوت المؤلف. مقدمة طويلة، وهوامش وتوضيحات كثيرة، لا داعي لاغلبها.

[syna|سينا · Rating 5 out of 5]

عمل مهم وكتاب قيّم في فن الرواية يمكن اعتبارة بالفعل مسحة ميدانية لأهم الكتاب المعاصرين والرويات المعاصرة .. استمتعت بقراءته واعتقد بأني سأرجع للكتاب الأول الذي ترجمته الكاتبه " تطور الرواية الحديثه"

[Anne · Rating 3 out of 5]

There are some smart choices and useful arguments here but it’s shockingly under-theorized and under-cited for my tastes. That said, some of its clear prose and straightforward explanations will be useful in clarifying arguments for my class, which was my purpose for reading this book.

[Abigail · Rating 4 out of 5]

Interesting and easier to understand than I thought it might be. Wrote down some novels and authors I'm now thinking I'd like to read.

[Abby · Rating 4 out of 5]

Read for Writing and the Present, Queen Mary University of London.

[Audrey Kalman · Rating 4 out of 5]

Pretty good. Explains a lot of pretty conceptual literary trends with examples from books I've read (Goon Squad, Never Let Me Go, etc) which is helpful and a nice coincidence. 3.7/5

[Callum Morris-Horne · Rating 3 out of 5]

3.5 rounded down.

Helpful insight into some of the issues involved in studying contemporary fiction. Good as a pre-exam refresher.

[Tobi ﾄﾋﾞ · Rating 2 out of 5]

rocks are solid and water hydrates u

[Douglas · Rating 4 out of 5]

A good survey, and definitely a survey, you'll end it with a long-ass reading list.

The second place I've seen F R Leavis discussed, the first being Bridget Jones's Diary.