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Chlouvānem/Literature: Difference between revisions
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As a counter-movement to exoticism, some writers, especially from the Near East, held on to archaism creating a current that came to be defined as '''new archaism''' (''lališire sārvanædani'') or '''Illūkahism''' (''illūkąanædani'', from the novel ''Illūkąas'' by Lūṣyāvi Lūtankhāryærās ''Khālbayān'', one of the first examples of new archaism). New archaism is distinguished from earlier archaism first of all by a lesser reliance on ancestral legends and themes, which had been, according to the main new archaist writers, overused, using documented historical events from the ages of Chlouvānem expansion instead, and also by a stricter, more polished writing style than either the historical novels of first-wave archaism or exoticist travel novels. With the dispute between exoticism and new archaism, language first became a serious talking point. While since the introduction of the novel genre to Chlouvānem literature linguistic complexity had been progressively limited in favour of comprehension - with nevertheless interesting attempts at depicting different sociolects, as for example did first-wave archaist writer Lañemulkāvi Bīyalga ''Lūṣya'', especially in her novel ''Vælvapoga'' (Cloudy Village), published in 6047 - new archaists favoured a writing style with Classical vocabulary and less linear syntax. Non-Chlouvānem terms, i.e. those taken from other languages of the Chlouvānem territories, were reduced to the minimum (mostly in character- and place names, all markedly Near Eastern due to the origin of most new archaist writers and the regions they set their stories in). | As a counter-movement to exoticism, some writers, especially from the Near East, held on to archaism creating a current that came to be defined as '''new archaism''' (''lališire sārvanædani'') or '''Illūkahism''' (''illūkąanædani'', from the novel ''Illūkąas'' by Lūṣyāvi Lūtankhāryærās ''Khālbayān'', one of the first examples of new archaism). New archaism is distinguished from earlier archaism first of all by a lesser reliance on ancestral legends and themes, which had been, according to the main new archaist writers, overused, using documented historical events from the ages of Chlouvānem expansion instead, and also by a stricter, more polished writing style than either the historical novels of first-wave archaism or exoticist travel novels. With the dispute between exoticism and new archaism, language first became a serious talking point. While since the introduction of the novel genre to Chlouvānem literature linguistic complexity had been progressively limited in favour of comprehension - with nevertheless interesting attempts at depicting different sociolects, as for example did first-wave archaist writer Lañemulkāvi Bīyalga ''Lūṣya'', especially in her novel ''Vælvapoga'' (Cloudy Village), published in 6047 - new archaists favoured a writing style with Classical vocabulary and less linear syntax. Non-Chlouvānem terms, i.e. those taken from other languages of the Chlouvānem territories, were reduced to the minimum (mostly in character- and place names, all markedly Near Eastern due to the origin of most new archaist writers and the regions they set their stories in). | ||
New archaism as a whole was not extremely successful, as it was always considered an elitist style, and its mostly conservative linguistic stances did not survive long - later writers, at most, began to experiment with different sociolects in the same story rather than sticking with a formal, polished, but often anachronistic one, as was the new archaist style (which however would become quite popular for novels set in the Classical era). Among the most notable works of new archaism, aside from ''Illūkąas'', worth mentioning are ''Dūryageiras'' (Distant Gate), also by Lūṣyāvi Lūtankhāryærās ''Khālbayān''; ''Āldaryasaṃrasta'' (The War of Āldarya) by Ṣastirāvi Kolakanāri ''Dulmaidana'' (cousin of later Great Inquisitor Dānyāvi Kolakanāri ''Naryejūram'', among the first reformists of the Industrial era); ''Ikla'' by Vælvāvi Bhāramim ''Vælvah''; and ''Subhrūṣaṃšaṇṭrūmi | New archaism as a whole was not extremely successful, as it was always considered an elitist style, and its mostly conservative linguistic stances did not survive long - later writers, at most, began to experiment with different sociolects in the same story rather than sticking with a formal, polished, but often anachronistic one, as was the new archaist style (which however would become quite popular for novels set in the Classical era). Among the most notable works of new archaism, aside from ''Illūkąas'', worth mentioning are ''Dūryageiras'' (Distant Gate), also by Lūṣyāvi Lūtankhāryærās ''Khālbayān''; ''Āldaryasaṃrasta'' (The War of Āldarya) by Ṣastirāvi Kolakanāri ''Dulmaidana'' (cousin of later Great Inquisitor Dānyāvi Kolakanāri ''Naryejūram'', among the first reformists of the Industrial era); ''Ikla'' by Vælvāvi Bhāramim ''Vælvah''; and ''Subhrūṣaṃšaṇṭrūmi vyātai'' (Heroes of the Fields of Subhrūṣama) by Mæmihomāvi Ṣpruttairās ''Dalaigin''. However, a major talking point in contemporary discussion of new archaist novels is their high level of historical attention and plausibility: many new archaist writers were archaeologists or historians themselves, and even while most of those novels are centered on fictional characters, a detailed research on actual historical events that happened in the time and place of the novels' settings is common to the whole current. Some novels, such as the previously mentioned ''Āldaryasaṃrasta'', may even be considered novelized historical chronicles. | ||
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