❞ رواية The Winter of Our Discontent ❝ ⏤ John Steinbeck

هذا القسم يحتوي علي العديد من القصص والروايات باللغة الإنجليزية

(Stories and novels) القصص والروايات
الرواية هي سرد نثري طويل يصف شخصيات خيالية أو واقعية وأحداثاً على شكل قصة متسلسلة، كما أنها أكبر الأجناس القصصية من حيث الحجم وتعدد الشخصيات وتنوع الأحداث، وقد ظهرت في أوروبا بوصفها جنساً أدبياً مؤثراً في القرن الثامن عشر، والرواية حكاية تعتمد السرد بما فيه من وصف وحوار وصراع بين الشخصيات وما ينطوي عليه ذلك من تأزم وجدل وتغذيه الأحداث
A novel is a relatively long work of narrative fiction, normally written in prose form, and which is typically published as a book. The present English word for a long work of prose fiction derives from the Italian novella for "new", "news", or "short story of something new", itself from the Latin novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning "new". Walter Scott made a distinction between the novel, in which (as he saw it) "events are accommodated to the ordinary train of human events and the modern state of society" and the romance, which he defined as "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents". However, many such romances, including the historical romances of Scott, Emily Brontë's Wuthering Heights and Herman Melville's Moby-Dick, are also frequently called novels, and Scott describes romance as a "kindred term". This sort of romance is in turn different from the genre fiction love romance or romance novel
A short story is a piece of prose fiction that typically can be read in one sitting and focuses on a self-contained incident or series of linked incidents, with the intent of evoking a "single effect" or mood.

A dictionary definition is "an invented prose narrative shorter than a novel usually dealing with a few characters and aiming at unity of effect and often concentrating on the creation of mood rather than plot."

The short story is a crafted form in its own right. Short stories make use of plot, resonance, and other dynamic components as in a novel, but typically to a lesser degree. While the short story is largely distinct from the novel or novella (a shorter novel), authors generally draw from a common pool of literary techniques.

The Winter of Our Discontent    

This classic series, offering fascinating accounts of the literary careers of the
most admired and influential English-language authors, has established
itself as a major contribution to literary biography. The volumes follow the
outline of the writers’ working lives, not in the spirit of traditional biography, but aiming to trace the professional, publishing and social contexts that shaped their writing. ‘John Barrell has observed acutely ... that
the so-called literary biography seems now to have become markedly less
“literary”, subordinating or virtually ignoring the work of the writer
concerned, except insofar as it can be made to mirror the ups and
downs, pleasures, pains and supposed secrets of his or her personal existence. This observation seems regrettably true, although the balance
is...redressed by such excellent studies in the accurately titled Literary
Lives series published by Palgrave as Michael O’Neill’s Percy Bysshe
Shelley (1989) or Caroline Franklin’s Byron (2000).’ - Anne Barton,
London Review of Books Series founded by Richard Dutton.
Nearly every American writer who has won the Nobel Prize for
Literature met with a barrage of questioning at the time. Such early
award winners as Sinclair Lewis and Pearl S. Buck (1930 and 1938,
respectively) began this kind of tradition—Lewis was very young,
critics said; Buck was termed some woman whose parents had been
missionaries to China, as she also was.1 The outright hostility diminished slightly for dramatist Eugene O’Neill’s receiving the award in
1936; in 1948, T. S. Eliot escaped acrimony because he had earlier
given up his United States citizenship to become British. (The onus
on Americans being awarded the most prestigious literary prize in the
world seemed to stem from the youngness of this country’s literature.
After all, England could look back more than four hundred years for
its heritage in the great verbal art.)

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