English Literature - Science topic

Gagan Mahrolia

You wrote: "Now a days nobody wants to correct the typos because everybody is quite comfortable to typos" (I'll resist correcting your answer!)

As a referee for some humanities journals, I sure don't want to spend time correcting typos. If there are too many typos or grammatical infelicities I'll just refer the matter back to the editor, who will decide whether to reject the article or ask the author to resubmit after having the article proofed. Unfortunately not all journals have the staff or resources to thoroughly screen articles before sending them to referees. I have noticed some journals that do publish articles riddled with typos; such journals are no credit to their editors and authors and are not considered respectable.

Revathe Balasubramanian

Here is a brand new area, Recombinant Theory, promulgated by Joel Katelnikoff, one of my former intro philosophy students:

Try Taylor and Francis journals.

Micro aggression tends to be usually felt in our every day life.In literature, we can find many examples for it.I think that it is tackled mostly in modern novels and drama genres .

Post-Colonial literary scope is a very broad term which encompases different subjects .Diaspora might form the most referred to,among their concerns.Godspeed in your work.

Comparative literature draws on literary theory (old and new), literary traditions across the world (not only Western discourses), literary translation studies, media studies, environmental humanities, decolonialism, gender studies and feminism, cultural studies and all sorts of intersections with other scientific research areas (medicine, history, law, psychology, philosophy, etc.).

Vidyanand Malik I recommend using the mixed-method, and the intervention pedagogical approaches such as: (1) arts-based learning, (2) research-based learning, (3) project-based learning, (4) outdoor nature-based learning, (5) inquiry-based learning, (6) cooperative/collaborative learning, and others as they emerged interactively in the learning/teaching environment/s.

As you are looking into the 19th century, some of the major issues would be literature from colonial times, and of course the format of the Novel. Assuming you are concerned with literature in English, the discussions will likely take turns into pre-colonial or even postcolonial issues, and it would also require you to look into the history of the novel, subsequent development of literature with the advent of printing techniques, during the transition from 19th to 20th century. This all depends on which grade or standard of class you are teaching and in what method of teaching; which will unfold the dynamics of the discourse (or challenges) that the teacher, or the students, are likey to face.

cannot open file after download, send your brochure to the email address -

What about Barbie film story!?think of this too.Godspeed

You could read related articles that link between woman and religious fanaticism

https://henryjacksonsociety.org/event/religious-extremism-title-tbc/

The Bible is full of such digressions that are supposed to be didactic when Jesus uses a story to explain his point of view on a subject. Nothing new there. Flashbacks and flashforwards are also digressions in time and they have existed in the cinema for maybe not centuries but at least many decades. I would even go farther. In my research practice, I often NEED digressions to make the point I want to make, otherwise, my thinking becomes a routine, a humdrum procedure that cannot change. There is no research without a constant NEED for change. So Poetry...? It has always used digressions to make deeper meaning understandable.

Write a proposal and start contacting professors in these universities, if anyone accept to work with #, then you u can contact the univ and register. good luck

Good morning

In my opinion, you must see the rules of your University and also, talk to your Director.

Best regards

Thank you, dear Suvashree Suvadarshinee for your suggestion. I have fascination for folk literature but it is a little bit difficult for me to do as I am from English literature background. Again I love cultural studies but getting no areas where I can work. Would you please suggest me some areas of cultural studies where I can put my fingerprint?

Thank you again.

Please check the link below:

Galli Mastrodonato, Paola Irene. 1996 .“Le due Indie: E. Salgari e E. M. Forster”, in ID. Ai confini dell’Impero: Le Letterature emergenti. Manziana (Roma): Vecchiarelli Editore, pp. 23-34.

I agree with you about universal values and would offer the following from C.S. Lewis’s Introduction to On The Incarnation by Athanasius:

"Every age has its own outlook. It is specially good at seeing certain truths and specially liable to make certain mistakes. We all, therefore, need the books that will correct the characteristic mistakes of our own period. And that means the old books. All contemporary writers share to some extent the contemporary outlook - even those, like myself, who seem most opposed to it. Nothing strikes me more when I read the controversies of past ages than the fact that both sides were usually assuming without question a good deal which we should now absolutely deny. They thought that they were as completely opposed as two sides could be, but in fact they were all the time secretly united - united with each other and against earlier and later ages - by a great mass of common assumptions. We may be sure that the characteristic blindness of the twentieth century – the blindness about which posterity will ask, "But how could they have thought that?" - lies where we have never suspected it, and concerns something about which there is untroubled agreement between Hitler and President Roosevelt or between Mr. H. G. Wells and Karl Barth. None of us can fully escape this blindness, but we shall certainly increase it, and weaken our guard against it, if we read only modern books. Where they are true, they will give us truths which we half knew already. Where they are false, they will aggravate the error with which we are already dangerously ill. The only palliative is to keep the clean sea breeze of the centuries blowing through our minds, and this can be done only by reading old books. Not, of course, that there is any magic about the past. People were no cleverer then than they are now; they made as many mistakes as we. But not the same mistakes. They will not flatter us in the errors we are already committing; and their own errors, being now open and palpable, will not endanger us. Two heads are better than one, not because either is infallible, but because they are unlikely to go wrong in the same direction. To be sure, the books of the future would be just as good a corrective as the books of the past, but unfortunately, we cannot get at them."

Thank you so much, Ghadah Marie for your kind inspiring suggestion.

You have a good biography by BOOTH, Martin. Carpet Sahib: A Life of Jim Corbett. Oxford: Oxford University Press, 1997.

There is another book that I have never accessed by GUPTA, Reeta Dutta. Jim Corbett: The Hunter-Conservationist. New Delhi: Rupa and Co., 2006.

For one thing, the depth, breadth, and sheer density of William Shakespeare's entire performative oeuvre from historical to tragic to comedic dramatic works provides the most remarkable and striking contrast to Christopher Marlowe's work, which nonetheless epitomizes the best of the English Renaissance revenge play. In some respects, it might be stated that Shakespeare is a magna cum laude graduate of the Universal School of World Dramatic Texts, while Christopher Marlowe is a summa cum laude graduate of Great Britain's School of Drama!

You should first raise your central claims then decide on an approach to investigate "madness". The choice of the approach is yours and ought to be explained. Many theories could fit in with your study (psychonalysis, narratology, political readings, gender studies etc.). Also, check the comparative studies schools. Good luck

Hello

The Norton Introduction to Literature

Dear Zied Ben Amor,

I am sending the definition of the term/concept "theatrics":

Thanks a lot @ Nancy Ann Watanabe. I really appreciate it. Thanks for your response and the details with the table of contents.

It is important that you consider the genre of the novel that you have at hand.

A testimonial novel, a autofiction, or a historical novel tend to be based on 'true' facts or biographical data of the author.

Even in the testemonial novel, the biographical lie is totally condemned. Do you know the story of Binjamin Wilkomirski's novel Fragments? See: https://www.theguardian.com/theguardian/1999/oct/15/features11.g24

I don't teach English anymore but I do have a BA in English education and certified to teach both English and literature in secondary and primary schools.

i don't know anyone like that but this is a research I will be looking out for.

Hola,

Para el cálculo de la frecuencia léxica de unidades simples o complejas, se suele utilizar WordSmith o AntCon.

Saludos

It will help if you use a suitable and powerful qualitative research software as Atlas.ti (https://atlasti.com/) or equivalent. This software allows you to introduce and research large amounts of text, written or oral, images, videos, etc. Then, you can select diverse research techniques, including frequencies, correlations, modulations, structures, and several other tools.

Dear mate, Unfortunately I could not find this version in my ebook collection. I got only this book about this writer:

The Edinburgh Companion to James Kelman (Edinburgh Companions to Scottish Literature). http://93.174.95.29/main/C14EA2288DFF14829EAA5C191F20B351

Hope this helps!

You can usually refer to literature as world literatures, but every country has their canon and therefore has distinctions between them. There is no consensus between the writers so as to resist hegemonic cultural knowledge production. See Gayatri Spivak for more information.

I am not sure that you can prove that one word is better than another, but you can set criteria to judge against.

For example, in the context in which you use it, "chill" is slang and "enjoy" is not. "Observe" is more elevated vocabulary than "see." Elevated vocabulary that is not slang could be among your criteria for evaluating language.

But which vocabulary is best depends on the situation. In some situations, "chill" may be arguably better, or more appropriate, than "enjoy."

It is a simple fact that everything we feed is growing. And a second simple fact is that we only become to know what we are able to believe in. So it is very important to deal with imaginative literature to feed our Imagination!

The process of becomming able to to things is: Conception (Imagination) followed by perception, followed by action(radius).

Although the question is not as clearly and coherently stated as it might have been, I venture to suggest that the most relevant "fallacy" might be "the intentional fallacy," which is not really a term that pertains to the authorial creation of a literary work, but, rather, "the intentional fallacy" is a term utilized in the domain of literary criticism. A research paper in which the writer proceeds to discuss a literary work, e.g., a novel, by assuming, and indeed asserting, that everything in the literary text may be traced to the author's intention is an example of the researcher committing or falling into the trap known as "the intentional fallacy," which should be avoided, particularly when the literary work belongs to a period in literary history after, say, 1800 or so. Much more could be said about "the intentional fallacy"; however, I proceed no further until Amjed L. Jabbar or another respondent speaks to the term "the intentional fallacy"! The question is certainly a good one; however, it just needs to be clarified a bit more.

I guess this could help:

Katherine Carl Payne, Mark J. Keith, Ryan Schuetzler, Justin Scott Giboney, Examining the Learning Effects of Live Streaming Video Game Instruction over Twitch, Computers in Human Behavior (2017), doi: 10.1016/j.chb.2017.08.029.

Please find this paper attached.

I think that's a very good question. Obviously, being an Australian of Irish descent, I can only draw direct experience from looking at how it has informed the various traditions of countries that are closely related to my own culturally.

However, in saying that, with reference to your question I feel like it would be helpful to draw on some of our neighbours in the Oceanic region. In the general region of Melanesia, the emergence of written literature in countries like Vanuatu, Fiji and Papua New Guinea (though not, perhaps, necessary in shaping the culture up until its fairly recent emergence, largely due to the prevalence of oral literature) I believe may have an important role in shaping the future of the cultures there.

Now, while all of these countries don't perhaps have a prevalence of exclusively English literature (with many being in native languages, pidgins, creoles, Hindi and French as well) English is the most commonly spoken language in all three, and therefore, also the most commonly read (although popular literature and print media is usually quite balanced in its split between native languages and English).

As in a lot of the literature of colonised regions, a lot of the new literature coming out of the Melanesian region is postcolonial and is in many ways grappling with the shock and trauma of colonialism. For this precise region, I believe it will be integral in shaping the culture moving forward. While the university systems there, which have been integral in fostering these literatures are fairly young, as are the literatures themselves, the writing is beginning to diversify in terms of publications as well as emancipate itself somewhat from academia, leading to more widespread adoption of writing.

While Melanesia has a rich cultural history that does not in any way "need" developing, and likewise there is no "need" for the English language or literature unto itself, in terms of making use of what is already there, I believe that given its widespread adoption (which thankfully has not led to extinction of the native languages) and likewise the adoption of the written form CAN have a pragmatic effect on their cultural development as it is, to some extent, a lingua franca and can assist in the ease of sharing stories.

As for how literature departments at universities have, given that they were integral in developing a written tradition, I would say that at least in the case of Melanesia, the relevance of the literature department cannot be dismissed.

(Source: https://web.archive.org/web/20081206173414/http://www.vanuatu.usp.ac.fj/paclangunit/English_South_Pacific.htm )

Now certainly this cannot be applied in all cases, and to all non-native-English-speaking nations, developed or otherwise, I believe that the South Pacific region does show a way in which the relevance and pragmatic capacity of literature can be argued for.

Regarding Stuctural Linear analysis very interesting - Following !

Teaching techniques should be varied to allow each type of learner access to the information being taught. While it is virtually impossible to cater to each student's learning needs, diversity in teaching is necessary. I have some objection to certain methods of literary critique, such as Feminist and Marxist, if only because they are too narrow in their points of view to apply to all literature. As for deconstruction- well, if literature means nothing, why bother teaching it at all? At the very least these methods of critique should not be the only method in a literature class (unless, of course, you're specifically teaching a Marxist of Feminist literature class). However, I believe many of the other lenses should be utilized in combination in the classroom so that students can get as much possible out of any given work. Methods such as Reader-Response, Archetypal, and New Criticism are all methods that offer varied ways of interacting with literature. Because literature is one of those subjects where sometimes there is one answer and sometimes there are 50 answers, there needs to be room for students to look at a work from as many angles as possible. As for choosing one literary theory above the others I don't know that I would pick any single theory to use for all works of literature.

Agreed with Dr Subir

The Journal of English Literature

It's a wonderful conceit on narcissism. I devoured myself. I was delicious.

Different journals have different ways of naming it.

Do you guys find it applicable and/ or acceptable to adopt a non-literary approach in a literary study?

For example, applying a Readers' Response approach (which is used mainly in education and classroom related research) on literature published on social media. (I wonder if you have other examples in your mind).

Thanks!

Maybe strong intuition, in mt country, we call it the sixth sense. Amazingly, not all people have this sixth sense.

The mass society is only interested in degraded comedy. The drama belongs to high culture. High culture that is in decline, of course.

You can contact Chinese Researchers here:

Thank you dear @Wulf Rehdar. I'm actually taking for granted that I can get a full scholarship already so I'm not worried about the tuition and the expenses. And the idea of having two countries in mind is because of the US-Iran fuss. But I understand that employment can be tough. So do you think it'd be better for me to instead continue with my other branch of study, that is, electronics so I can get a better chance of employment?

Have a look at this also

In and of themselves, exit slips have value as a reflective piece for students. However, they are most useful as a tool to informally assess your in a formative way especially if you have the stamina to read through them all and give thoughtful feedback. You might consider creating a rubric that contains both the writing skills that you wish to reinforce and the content criteria that will guide students to demonstrate their understanding. Using the exit slips at the beginning of the next lesson is an excellent method of activating prior knowledge. The answer to your question is yes as long as you thoughtfully prepare for exit slips based on the lesson objectives, create and share with your students the evaluation criteria, and give timely and meaningful feedback.

Thank you. Very useful.

Best

Charlie

Maybe it is too late, but I read your question and I found her memories in Amazon:

By the way, It looks like a very interesting project.

Cheers.

Future scientific researches will be far more dependent on technology. In the field of Biological Research, use of living animals for testing of some drugs or as some models may be stopped very soon, within 10 years. Animal/animal body part models will be replaced by software based models.

In other branch of Science, I think same thing may happen. I can not say the possible changes as it require very deep knowledge about the research procedures running presently.

Your topic is very impressive. Try Chaucer's The Canterbury Tales: The Man of Law's Tale. Try also some English translations of the Arabian Nights. Good luck.

Individual teachers will look for different goals to achieve--e.g., I work on achieving an advance in emotional intelligence in a course called Literature and Psychology; but in a digital literary studies course, I'm looking for more semantic awareness, etc. It's really the Department as a whole that might help define overall goals--clear writing, close reading, etc. If interested, I can send my department's overall learning goals.

Dear MTHS,

Literature first and foremost, (like most art subjects) teaches learner to be humane and humanistic in approaching other people. It also teaches empathy through the experiences of others. But above all, the very many topics in literature are aimed at building creativity, imaginative and critical thinking, art of expression, act of writing, etc in the learners.

Best

The usual tack here is to identify the witches as marginalised female figures, pushed to become the sinkholes of a failing society, and inhabiting the fringes of human ecology (swamps, marshes, the uninhabitable but ecologically invaluable); and then to detect homologous characteristics in Lady Macbeth's behaviour, turning her murderous ambition into a case of demonic possession at the behest of an abused natural world. I find such reworkings of the play strained, verging on the bizarre.

Explore Virginia Woolf's publishing of Freud and her use of symbolism which enables you to see her in Jungian or archetypal critical perspectives instead of Freudian.  Her agnosticism or atheism is not compatible with her hints of "something" that gives coherence to her works as a whole.   What makes the chair creak in "Jacob's Room" and what is the Lighthouse?  Not a phallic symbol.  When Mr Ramsay looks into the hedges, what is he seeking?   In what sense does Mrs Ramsay identify with the light from the Lighthouse?  And who is Percival in "The  Waves"?  I think Virginia Woolf is a great psychologist, but like Jung, she resists our attempt to reduce her to a 'system of logic'.  Her logic is of the soul and of the groundings of human relationships.  She is a difficult challenge, but she is also a truly great and original literary artist.  

(The great danger is that you may read into her works, not read out of them, as you develop theoretical insights by applying theories or hypotheses from her narrative consciousness into her novels rather than reading her and letting her create what only her unique vision captured and contained in her novels. 

Stick with genius.  Do not waste your time on writers who are not 'authors'.

Dear Dr. Nauman Nazir

I thank you very much for your helps, given to us!

If I need your helps again I will send a message or I will call you again  I

Have a nice weekend!

Bashkim

Josefina,

You can write in Spanish or in Catalan which I understand but the language of exchange here is English. The issue is not your ability to capture nuances in another language but the lack of nuances in your thought. I gave you a thoughtful and detailed response and you maintain a rather simplistic view of the matter at hand.

Philosophical fiction exists and the line between philosophy and fiction has nothing to do with the skills of the writer in question but is in itself a philosophical question. I gave you examples of outstanding writers who are each of them masters of both literature and philosophy: Nietzsche, Kierkegaard, Camus and Sartre, to which we may add many others. 

You are either unable or unwilling to address this issue which is relevant for both literature and philosophy. For this reason, I bring this exchange to with you to a close. 

Vincenzo Di Nicola

Université de Montréal

(My answer assumes that you are referring to computer corpora of literary texts. I hope I have not misunderstood you.)

I am not familiar with specific literary corpora: I know they exist, but I do not know their size or composition. However, you might do well to bear in mind that a number of the main general corpora, including the OEC, the BNC and the COCA have a literature subcorpus.

Whether you would be better off with a smaller specific literature corpus or a larger general corpus which includes literary texts will depend on the nature of your research. If you are looking above all for a large amount of texts, then you might be better off with a mega corpus such as the OEC or the Coca: even though literature is not the mainstay of their composition, the sheer overall size of these two corpora (around 2 billion words in the case of the OEC and around half a billion in the case of Coca) will ensure that you are not short of literary texts. However, you would need to examine the composition of the literature subcorpus in these corpora, to see if it fits your purposes. If you require more information than that supplied with the corpus, you could always try contacting the corpus compilers.

The BNC is available on both SketchEngine and the Brigham Young University platform. You would need to check if it's the same version on both platforms, as it wasn't at one time. The OEC is also available on Sketch Engine, if you obtain prior permission to use it from the publishers (Oxford University Press.) Coca is available on the Brigham Young University platform.

I think that W.H. Auden's essay "The Guilty Vicarage" does much to explain the appeal of the classic British detective story.  For an American equivalent see Raymond Chandler's "The Simple Art of Murder."  

We have a collection of Indian adaptations of Shakespeare at the open access MIT Global Shakespeares digital video archive: http://globalshakespeares.org/

Aristotle, an admirer of the tight narrative structure of "Oedipus Rex" and of a clear beginning, middle, and end of a mythos (plot), would have been quite puzzled by the rambling, episodic structure of a Dickens novel such as "The Pickwick Papers" or "Martin Chuzzlewit." Dickens's plotting became much tighter in the later novels such as "A Tale of Two Cities" and "Great Expectations," but he was consistently much more interested in such "non-mythos" matters as character, atmosphere, and setting. However, despite the picaresque structure that Dickens favoured in the first half of his career, he did organise his narrative material in the cause-and-effect relationship that Aristotle advocates in "The Poetics." Because he deployed multiple plot lines in the bigger novels, he had to take considerable pains with the opening and closing (denouement), but the complication often seems a bit of a muddle rather than a middle.

Dear Sandamali,

As the question shows, you need to have a questionnaire for your research. I believe that prefabricated, already existing questionnaires,  may not serve your purpose due to problems of validity and reliability. As a consequence, you can prepare your own questionnaire by following appropriate steps. The book by Zoltan Dornyei (2003)  on how to construct questionnaires can really be helpful.

Best regards,

R. Biria 

Dear Sabah,

I work with discursive approach (oral and written text production) in order to not hygienizing the observed subjects’ ways and desires.  This assessment supports pluralities: this practice becomes effective social work. This perspective is called "fourth-generation qualitative assessment"

Dear Sabah Zaib,

The French Discourse Analysis (Pêcheux, Les Vérités la Palice) uses the method of Carlo Ginzburg (Clues, Myths and historical Method), with a research strategy  based on reading clues and traces that reveal hidden information.

I wish you success in your search!

Dionéia Monte-Serrat

Dear Sabah Zaib,

See through the link!

Mr. Owen:

             Thanks for the page you attached; didn't know that he might have been an stage actor as well.

Perhaps, you could do storytelling in your teaching and make your teaching more hands on like getting students to do a role-play based on a particular historical context . Besides that, bring in video clips to enhance their understand. Graphics too can help promote their interest.

It may be useful to look into cognitive studies - the famed experiment by  Fritz Heider and Marianne Simmel could be a point to start from. In addition, I suggest evolutionary criticism as it deals with the human predisposition to anthropomorphize and to attribute agency to natural phenomena - which may also be seen as one of the origins of religion and the anthropomorphization of nature. And finally, metaphor theory may be of interest, as  the "metaphors we live by" are very often anthropomorphic.

Cooney was hugely successful in the popular theatre. His plays were the modern equivalent of Feydeau, the 19th century French playwright. The plays also hark back to the British restoration period of the 17th century, with people like Wycherley (The Country Wife) and John Dryden (Marriage a la Mode). The Restoration plays were also called Plays of Manners, and usually involved sexual antics, affairs, wives been cheated on, and men being cuckolded. Cooney's plays did not get the critical attention that the 17th century playwrights did but many were hugely successful - Run For Your Wife particularly. I think the reason was not artistic snobbery on the part of the critics, but the slightness of Cooney's plays. Perhaps we might compare them to a lot of the Carry On series of films.

Great question, but like Lode and Aline comment, it definitely depends on the lens. There is not an ultimate approach to visual analysis. Most of the books listed here apply sociological lens to their analysis. If you map the influences of most of this works, they rely pretty much on:

The problem that I find with these works is that they are quite limited and tend to ignore factors that come with production expertise in favour of inherited theoretical perspectives (this is the case of Kress, for example, a scholar that has been criticised to be almost evangelical about the work of Halliday). Rose tries to prevent this situation on her framework, but I personally think that a general "visual analysis" is really hard to do. Another important element to mention is that this approaches to visual analysis are based on visual perception models that have been already revised (spotlight vs scattered attention) and tend to ignore other very rich semiotic traditions (Charles Peirce, Morris, etc.). 

If I was you, I would try to look for approaches in predominately visual disciplines (design, arts), I would look for semiotic analysis (not just "social semiotics" that is just one approach) and then I would look for a framework (e.g., Rose). 

Mohammed sir,

First of all Thanks a lot for your Question because You enlighten me with answers. Ahmad Gholi sir

Your answers were really helpful for me with Regards.

There is no doubt that literature develops better understanding about life, about relationships. Whether literature makes you a ‘better person’ or not, can be argued and counter argued with loads of examples.  The point is not changing into ‘better’ or ‘otherwise’ person; rather the point is that literature affects you. It certainly exposes you to the myriad lanes and by-lanes of life. Literature not only sensitizes you to important issues but it certainly makes you realize your own level of sensitivity and insensitivity. It ignites a spark in you. There are certain habits, behavior, unique ways of doing things which are very insulting or humiliating to others but we keep doing them unknowingly. Literature shows us the mirror

Yehuda Amichai, Israeli  Poet became a writer by discovering the latest London poetry in an Egyptian desert  where he was stationed as a soldier (Ludwig Pfeuffer)  in British Army. He admits: ´ There had been some kind of storm, and one of the mobile libraries had overturned into the sand, ruining or half-ruining most of the books. We came upon it and I started digging through the books and came upon a book, a Faber anthology of modern British poetry, which I think came out in the late thirties. Hopkins was the first poet, Dylan Thomas the last. It was my first encounter with modern British poetry—the first time I read Eliot and Auden, for example, who became very important to me. I discovered them in the Egyptian desert in a half-ruined book. This book had an enormous impact on me—I think that was when I began to think seriously about writing poetry.

Dear Michael,

I found something from these websites:

Full text of "The life of Henry Labouchere": https://archive.org/stream/cu31924028316598/cu31924028316598_djvu.txt

Hope that these are helpful for you.

In ethnographic research it is not uncommon to have to disguise or alter details of case studies to protect the parties involved while trying to preserve the essential properties of the case. One very well known case from the Britain was Richard Hoggart's book 'The Uses of Literacy' in which many examples of popular writing were actually invented by Richard Hoggart at the request of his publisher who feared that real quotation might lead to legal action.

Think there is no fixed language for research.  But language used should fit for its purpose in the article / thesis / conference proceeding / presentation / audience and can be different from discipline to discipline like engineering, social sciences etc.  For example, language used in conference presentation might focus on keywords rather than structured / proper grammar English as in article writing even though both of them derived from the same contents.

Surely this is a question for the implied reader? Fictional writing is not deterministic in that it claims to always offer a 'correct' model, or imagines it even needs one. The author (however gendered) is creating a written image, much as a visual artist uses colour. Just as one cannot (nor should attempt to) demand a specific or quantifiable production of 'rightness' from a visual artist (consider the works of Picasso, for example), neither should such a demand be levied upon an author. Mr Moore was free to write gender as he pleased, but it is up to the reader to decide how that representation resonates with their own weltanshauung.

Cheers.

 The questions are very large and not exactly in the same field.

I can share with you a rough list of selected books on literary space.

On literary space (theory and description)