8,511
edits
Chlouvānem/Literature: Difference between revisions
m
→Literature of the Trembling Years
m (→Theater) |
|||
| Line 131: | Line 131: | ||
While some authors of the time mainly wrote optimist science fiction, assuring their faith in industrial positivism, a growing mass of literature concerned itself with social criticism: struggle of the working class (mainly male, as it was historically the case, but the industrial revolution had brought many females into this class too), environmental problems, perceived heresy towards the Yunyalīlti values, and, most notably, a series of psychological novels. The latter category includes the work of two of the greatest writers of post-Classical Chlouvānem literature: Jauhækūmyāvi Nahinuyāša ''Lañimulca'', native of Līlikanāna, in the Far East, and Lileikhurāvi Yukahināri ''Mæmihūmya'', native of Lāltaṣveya, in the delta of the Nīmbaṇḍhāra. | While some authors of the time mainly wrote optimist science fiction, assuring their faith in industrial positivism, a growing mass of literature concerned itself with social criticism: struggle of the working class (mainly male, as it was historically the case, but the industrial revolution had brought many females into this class too), environmental problems, perceived heresy towards the Yunyalīlti values, and, most notably, a series of psychological novels. The latter category includes the work of two of the greatest writers of post-Classical Chlouvānem literature: Jauhækūmyāvi Nahinuyāša ''Lañimulca'', native of Līlikanāna, in the Far East, and Lileikhurāvi Yukahināri ''Mæmihūmya'', native of Lāltaṣveya, in the delta of the Nīmbaṇḍhāra. | ||
The work of Jauhækūmyāvi Nahinuyāša ''Lañimulca'' can be explained in being aimed at teaching a certain set of values, whose actual nature echoes very well her changing attitudes in life, starting from a more revolutionary phase, embracing proto-communist ideas and in her earlier novels, like ''Birṣų ānat kāmilire lairē'' (the Blue Sky After the Storm, a title that proved so influential to give Calémerian | The work of Jauhækūmyāvi Nahinuyāša ''Lañimulca'' can be explained in being aimed at teaching a certain set of values, whose actual nature echoes very well her changing attitudes in life, starting from a more revolutionary phase, embracing proto-communist ideas and in her earlier novels, like ''Birṣų ānat kāmilire lairē'' (the Blue Sky After the Storm, a title that proved so influential to give Calémerian Communism the colour blue as a symbol) or ''Caicehūka ga ñælihų Darkhām'' (Darkhām from Caicehūka Hill<ref>At the time, an industrial area on the outskirts of Līlikanāna.</ref>), moving onwards to social satire and criticism, particularly with respect to the divergence between the upper and lower classes<ref>Note, though, that Nahinuyāša was born in a middle-class family and earned so much during her early part of life to become effectively an upper-class woman.</ref>, (''Merāṭṇe lguñjais'' "Coins in the Stepwell", or ''Menirpārṇam'' "Tomorrow"), both for what concerns material possessions and for social customs, paying particular attention in detailing upper-class parties and the reactions of the serfdom – as in ''Mulkeɂās'' (the Glass). In the latter part of her life, however, she moved to more moral, religious themes, often sounding as a sort of ''mea culpa'', or scapegoat for the excesses of the upper class: these are the most preacher-sounding novels (and short stories) of hers, with verbally violent attacks on what she felt was increasingly an heretic society; notable examples of this attitude are the novel ''Yamye ñæltryāmaha'' (the Foggy Monastery), often considered her masterpiece, some short stories such as ''Ñāmbi mālthusire muhas'' (the Grasshopper's Last Jump) or ''Camimuših'' (Greater Tide), and her unfinished last novel, ''Ñailūlairē'' (Icy Sky).<br/>Modern critics note how her condemnation of the upper class she herself belonged to, however, reveals a huge internal struggle through the obsessive details she used in depicting the object of her despise, from sexual excesses (it is widely agreed on that, as told by historical accounts and mail correspondence, she was an evident nymphomaniac, though she never managed to accept this side of herself) to the perverted delight of commanding people. Despite the sometimes controversial nature of her later work, Jauhækūmyāvi Nahinuyāša ''Lañimulca'' remained one of the most famous novelists of her time, with her funerals, in 6229, having been officiated by then-Great Inquisitor Coreleyāvi Usuvitturæn ''Kalikhūmpan''. | ||
Lileikhurāvi Yukahināri ''Mæmihūmya'' had, at first sight, a less excess-prone life than her contemporary, and never became as rich. Despite she having also been a proto-communist, and very actively politically involved (to the point of being at one time involved in a conspiration that aimed to kill the then-Aṣasārjaiṭi King and install a republic), her novels show very little of all of this. Instead, her writings were of extraordinary importance in psychiatrical studies, developing elements of psychoanalytic theory with a novel production whose implicit driving force is all about the instincts of the unconscious mind. Many of her novels are concerned with an overall manichaeist view of good and evil, which in the end, through a general deconstruction of society, typically becomes blurred and can't be distinguished at all in any character (''Laitenælyavi naiṭai'' "Stars of Wonder"; ''Guma'' "Loss"; ''Muɂāyi haryana'' "Scent of Cardamom"); others are markedly existentialist, portraying characters in a growing sea of despair and grief (''Gliširu'' "I Surrender"; ''Yalkom ūnitā'' "Tramway to the Beach"; the epistolary novel ''Doh tadhulta'' "Letter to Myself"). Memory is often central to her novels; sometimes it is involuntary memory – especially in Tramway to the Beach, which can be said to entirely lack a plot, being a sequence of flashbacks triggered by seeing things while in a streetcar – while sometimes it's being tormented from one's own memories (most prominently in the short story ''Nanǣ parṇame jāṇe'' "That Day, in the Field", also to some extent in Scent of Cardamom) or, in the novel ''Javyāgeta'' (Fiery Elephant), struggling with not remembering people and things.<br/>A really prolific writer, Lileikhurāvi Yukahināri ''Mæmihūmya'' drowned in the Kūliṃhara river in Cambhaugrāya, probably suicidal, in 6227, in her 54th year of age. Her revolutionary noveling style was praised by her contemporaries – including Nahinuyāša – before and after her death, and the themes treated in her novels are nowadays considered to be precursors of contemporary philosophy and early milestones of psichiatry, as well as influential on the last two centuries of Yunyalīlti theology. | Lileikhurāvi Yukahināri ''Mæmihūmya'' had, at first sight, a less excess-prone life than her contemporary, and never became as rich. Despite she having also been a proto-communist, and very actively politically involved (to the point of being at one time involved in a conspiration that aimed to kill the then-Aṣasārjaiṭi King and install a republic), her novels show very little of all of this. Instead, her writings were of extraordinary importance in psychiatrical studies, developing elements of psychoanalytic theory with a novel production whose implicit driving force is all about the instincts of the unconscious mind. Many of her novels are concerned with an overall manichaeist view of good and evil, which in the end, through a general deconstruction of society, typically becomes blurred and can't be distinguished at all in any character (''Laitenælyavi naiṭai'' "Stars of Wonder"; ''Guma'' "Loss"; ''Muɂāyi haryana'' "Scent of Cardamom"); others are markedly existentialist, portraying characters in a growing sea of despair and grief (''Gliširu'' "I Surrender"; ''Yalkom ūnitā'' "Tramway to the Beach"; the epistolary novel ''Doh tadhulta'' "Letter to Myself"). Memory is often central to her novels; sometimes it is involuntary memory – especially in Tramway to the Beach, which can be said to entirely lack a plot, being a sequence of flashbacks triggered by seeing things while in a streetcar – while sometimes it's being tormented from one's own memories (most prominently in the short story ''Nanǣ parṇame jāṇe'' "That Day, in the Field", also to some extent in Scent of Cardamom) or, in the novel ''Javyāgeta'' (Fiery Elephant), struggling with not remembering people and things.<br/>A really prolific writer, Lileikhurāvi Yukahināri ''Mæmihūmya'' drowned in the Kūliṃhara river in Cambhaugrāya, probably suicidal, in 6227, in her 54th year of age. Her revolutionary noveling style was praised by her contemporaries – including Nahinuyāša – before and after her death, and the themes treated in her novels are nowadays considered to be precursors of contemporary philosophy and early milestones of psichiatry, as well as influential on the last two centuries of Yunyalīlti theology. | ||