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protagonist

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Published: 01 June 2021
Figure 3. Aristotelian (somebody) novels by protagonist type in France, 1601–1750. Figure 3. Aristotelian (somebody) novels by protagonist type in France, 1601–1750. More
Journal Article
Modern Language Quarterly (2005) 66 (3): 400–403.
Published: 01 September 2005
...Jesse Matz The One vs. the Many: Minor Characters and the Space of the Protagonist in the Novel . By Alex Woloch. Princeton, NJ: Princeton University Press, 2003. ix + 391 pp. © 2005 University of Washington 2005 Jesse Matz is associate professor of English at Kenyon College. He...
Journal Article
Modern Language Quarterly (2019) 80 (1): 13–19.
Published: 01 March 2019
... against domestic fiction and its core principle, that, in Armstrong’s words, “the modern individual was first and foremost a woman.” Goethe’s novel elects a male protagonist as the universal subject of a modern developmental logic of human nature and articulates his progress on a succession of sacrificial...
Journal Article
Modern Language Quarterly (2011) 72 (2): 201–223.
Published: 01 June 2011
...Raphaël Ingelbien; Benedicte Seynhaeve This essay explores the intertextual use of Hamlet in Sydney Owenson's Wild Irish Girl and Germaine de Staël's Corinne to shed new light on these writers' interventions in European Romantic politics. Both Owenson and Staël associated their male protagonists...
Journal Article
Modern Language Quarterly (2021) 82 (3): 345–369.
Published: 01 September 2021
...Michael Lackey Abstract Biofiction is literature that names its protagonist after a historical figure, and since the 1990s it has become one of the most dominant literary forms. This is surprising because many prominent scholars, critics, and writers have criticized and even condemned...
Journal Article
Modern Language Quarterly (2021) 82 (3): 315–343.
Published: 01 September 2021
... their protagonists and undermine the typological assumptions of much realist fiction. The essay suggests that, rather than read these developments as evidence of a formal rupture between modernism and realism, we view Bleak House , Ulysses , and The Wire as playing a role in an understudied tradition of “population...
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Journal Article
Modern Language Quarterly (2013) 74 (3): 331–362.
Published: 01 September 2013
...Robert D. Hume Some 250 English comedies are set in London between circa 1600 and 1737. Three clichés about them remain current. First, “Jacobean city comedy” performs serious sociopolitical work. Second, the social level of the protagonists rises in the “comedy of wit” or “comedy of manners...
Journal Article
Modern Language Quarterly (2015) 76 (2): 137–157.
Published: 01 June 2015
... the increasing indistinction between human and nonhuman worlds. The novel’s structure rejects linearity as its protagonists are linked to one another and themselves over all of human history. Copyright © 2015 by University of Washington 2015 Anthropocene historical novel crisis totality determinism...
Journal Article
Modern Language Quarterly (2015) 76 (2): 181–199.
Published: 01 June 2015
... of Paris demystifies the bildungsroman’s typically self-made protagonist by foregrounding how the probabilistic attribution of causal force to the human will resembles predestinarian belief in divine determination. The Eastern wish-fulfilling skin of Balzac’s title at once hyperbolizes the liberal fantasy...
Journal Article
Modern Language Quarterly (2008) 69 (3): 315–345.
Published: 01 September 2008
... , the essay argues that the key to the Cornelian model of literary greatness is the degree to which Corneille identifies his own poetic inspiration with his tragic protagonists, and capitally with the first of them, the eponymous heroine of Médée . When set in dialogue with the ventriloquistic absence...
Journal Article
Modern Language Quarterly (2009) 70 (4): 443–471.
Published: 01 December 2009
...-century antecedents in Joseph Addison and Adam Smith. Like two of his early protagonists, Guy Mannering the astrologer and Jonathan Oldbuck the antiquary, “the Author of Waverley ” is himself a compromised Stoic, yet Scott's narratives demonstrate repeatedly how, while it may fail on its own terms...
Journal Article
Modern Language Quarterly (2011) 72 (1): 75–105.
Published: 01 March 2011
... unchanged by their movement. The protagonists of the Japanese writer Kosugi Tengai's New Year's Finery and the American Theodore Dreiser's Sister Carrie (both 1900) show Zola's character reduced to a cluster of minimal qualities: performance, mobility, and contagion. Paradoxically, flattening the Nana...
Journal Article
Modern Language Quarterly (2011) 72 (2): 163–200.
Published: 01 June 2011
...Joshua Scodel Hamlet and its protagonist place liberty at their center of vision by exploring its diverse senses. Freedom in Hamlet is of different kinds, always limited and hard to obtain or keep. The play's other characters serve as clarifying foils to Hamlet himself, who as the closely watched...
Journal Article
Modern Language Quarterly (1962) 23 (1): 41–45.
Published: 01 March 1962
... of “Burnt Norton” and the midwinter scene at the start of “Little Gidding.” The purpose is to use these texts, one from the beginning and one from the end of the poem, to show what changes have taken place in the protagonist through the course of it. The argument obviously depends...
Journal Article
Modern Language Quarterly (1957) 18 (2): 125–131.
Published: 01 June 1957
... autumnal imagery. The protagonist fears death before the reaping of the harvest, before poetic maturity has been achieved, before the pen has “glean’d” the “teeming” brain, before “high-piled” volumes hold the “full-ripen’d grain,” like “rich garners.” It is the urge for poetic fulfillment...
Journal Article
Modern Language Quarterly (2007) 68 (2): 305–329.
Published: 01 June 2007
...” of universal proportions under the banner of “diversification,” as the nameless protagonist terms it in The Committee (Al-Lajnah, 1992), by the Egyptian novelist and intel- 1 See Simon Gikandi’s discussion in “Globalization and the Claims of Postcolo- niality,” South Atlantic Quarterly 100 (2001...
Journal Article
Modern Language Quarterly (1973) 34 (1): 114–117.
Published: 01 March 1973
... that the storyteller’s omniscience is strictly limited to the principal protagonist. No outside perspective enters into the narrative and, as a result, the point of view is that of Joseph K. and his counterparts in Kafka’s other writings. Thus, the perspective of the narration is that of the protagonist...
Journal Article
Modern Language Quarterly (1979) 40 (2): 115–134.
Published: 01 June 1979
... emblematic contrasts between self- proclaimedly demonic figures (Iago, Edmund, Claudius, Lady Mac- beth) and selfless representatives of goodness (Desdemona, Cordelia, Edgar, Ophelia, Malcolm, Duncan). At the center of the tempest he depicts a meditative protagonist who binds attention with his...
Journal Article
Modern Language Quarterly (1973) 34 (4): 462–464.
Published: 01 December 1973
... “the protagonist’s anguish,” how his “sense of loss distracts and infii- riates” him (p. 5). “Guilty of the sin of spiritual pride” (p. 7), he suffers dani- nation, which is “the painful state of consciousness-the terrible psycholog- ical suffering-that accompanies the awareness of irreplaceable loss” (p. 8...
Journal Article
Modern Language Quarterly (1978) 39 (1): 15–26.
Published: 01 March 1978
...Dino S. Cervigni CELLINI’S VITA, OR THE UNFINISHED STORY OF A DISILLUSIONED HERO By DINOS. CERVIGNI Benvenuto Cellini, the narrator-protagonist of the Vita, was born in Florence in 1500 and died there in 157 1. An artist...