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Zeitschriftenartikel zum Thema „Barbers – Fiction“

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Autor: Grafiati

Veröffentlicht am 26. Juli 2024

Zuletzt aktualisiert am 27. Juli 2024

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1

Mack, Robert L. „Confronting the ‘Real’ Sweeney Todd: a Personal Journey of Discovery“. Victorian Popular Fictions Journal 4, Nr. 2 (2023): 136–45. http://dx.doi.org/10.46911/ukud3206.

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Robert L. Mack’s coda, a memoir in miniature, demonstrates why penny fiction should matter to global popular audiences today. Mack recovers an important moment in the history of the metafictional transmedia traditions that penny fiction generated: the 1979 appearance of Stephen Sondheim and Hugh Wheeler’s revolutionary Broadway operetta Sweeney Todd, the Demon Barber of Fleet Street, a Musical Thriller. With Sweeney Todd’s premiere, the murderous barber got his chance to go global and succeeded terrifically. Drawing upon journalism, archival evidence, and personal experience, Mack reconstructs that moment and considers how myths about Sweeney Todd’s origins have impacted our understanding of the historical past. Namely, since 1979, the greater number of spectators on both sides of the Atlantic appeared to remain convinced that the barber’s murderous history was nothing less than a matter of verified and verifiable historical record. Mack explains how that misapprehension arose and reflects upon his quest for the sources of the legend.

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2

Kyobutungi Tumwesigye, Alice Jossy. „Young Adult Vulnerabilities in the Fiction of a Ugandan Woman Writer“. Global Research in Higher Education 5, Nr. 1 (08.03.2022): p22. http://dx.doi.org/10.22158/grhe.v5n1p22.

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Questions of identity, power, autonomy and vulnerability carry a particular weight in cultures that have emerged from colonialism. Although few writers of fiction focus on the conflicts between African and European characters, a focus on power and marginalisation remains. One category in which this focus may be plainly seen is writing for and about young people. The study’s aim was to analyse young adult fiction written by a Ugandan female author, Barbara Kimenye to investigate this writing to find out how young adult vulnerability is depicted in literature. Although literature targeting young people in Uganda has flourished and though issues of limited representation have been scrutinised in literary studies, like gender discrimination, very limited attention has been accorded young adult representation in literature. This research analyses fiction written by a female author Barbara Kimenye to expand knowledge about the criticism of young adult representation in literature with particular focus on young adult vulnerability in an adult dominated world. The methodology was mainly qualitative research design, where a document analysis method was used to aid analysis and make critical appreciation of the fictional works. The study investigated the state of young adult characters in literature with special focus on their vulnerability.

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3

Ryan, Maureen. „Barbara Kingsolver's Lowfat Fiction:“. Journal of American Culture 18, Nr. 4 (Dezember 1995): 77–82. http://dx.doi.org/10.1111/j.1542-734x.1995.1804_77.x.

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4

Chaparro Sainz, Ángel. „Mormon Marriage Is Also Terrestrial: An Study on Gender in Phyllis Barber's Raw Edges: A Memoir“. Miscelánea: A Journal of English and American Studies 48 (07.01.2014): 13–28. http://dx.doi.org/10.26754/ojs_misc/mj.20138826.

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Phyllis Barber was raised as a member of the Mormon Church. In her fiction and in her autobiographies this is an important element opening suitable realms to analyze her literature. Here I aim at analyzing her contribution to Mormon feminist tradition. In her latest autobiography, Raw Edges: A Memoir, Barber approaches marriage as an institution, helping to illustrate the relevance that certain gender roles still have within Mormon culture. Through the confession of her own failure, Barber echoes former references to penetrate into topics dealing with gender issues within Mormon culture.

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5

Altaf, Sana, und Aqib Javid Parry. „Nalo Hopkinson’s Midnight Robber: Blending technology and fantasy in a dystopian narrative“. Technoetic Arts 22, Nr. 1 (01.04.2024): 133–44. http://dx.doi.org/10.1386/tear_00126_1.

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In the contemporary postmodern era, the boundaries that once rigidly separated well-established genres have become more fluid, resulting in what scholars Raffaella Baccolini and Tom Moylan call ‘genre-blurring’. This phenomenon of incorporating elements from diverse genres represents a challenge to dominant ideologies and expands the possibilities within fictional texts. The dystopian fiction written by feminist writers towards the end of the twentieth century and beyond significantly exemplifies this form of hybrid textuality. In doing so, these writers seek to renovate the dystopian genre by making it both formally and politically oppositional. This article aims to explore Midnight Robber (2000), a feminist dystopian novel by Nalo Hopkinson, a Jamaican–Canadian writer, to illustrate how the author manipulates the generic boundaries of science fiction, fantasy and mythology. By amalgamating Afro-Caribbean religious and cultural beliefs, mythical creatures and traditional knowledge systems with a technologically advanced future world, Hopkinson challenges the essentially White, Eurocentric model of dystopian fiction. The article will also examine how, as an Afrofuturist writer, Hopkinson attempts to challenge and subvert the patriarchal discourse of dystopian fiction, traditionally dominated by White male writers, through a strong Black female character, Tan-Tan, who seeks to resist the patriarchal structures governing her, and finally succeeds in emerging as a female leader figure. For this purpose, Barbara Creed’s insights into the monstrous-feminine are explored, introducing novelty into the discourse of feminist dystopia.

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6

Kaufman, Anthony. „The Short Fiction of Barbara Pym“. Twentieth Century Literature 32, Nr. 1 (1986): 50. http://dx.doi.org/10.2307/441306.

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7

Sturgess, Charlotte. „Visible difference : Gender as genre in Susan Swans The Wives of Bath“. Recherches anglaises et nord-américaines 36, Nr. 1 (2003): 91–98. http://dx.doi.org/10.3406/ranam.2003.1671.

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Through its play on the limits of fictional genre which underlines the constructedness of genre categories, The Wives of Bath envisages gender itself as an arbitrary construct. Through a series of inversions, crossings and diverse literary encodings the textual strategies at work in the narrative not only problematize the notion of literary genres, they also point to gender itself as a “fiction”. But The Wives of Bath goes further ; through its playing on the boundaries of representation, and its playing with categories of gender, it ironizes any possible unitary narrative of Canada’s national space. As Barbara Godard has stated, Canada as imaginary construct is the “Discourse of the Other”. The Wives of Bath seems, through its strategies, to bear out this statement ; that Canada breaks through any holistic version of nationhood itself, any containment in a “genre”.

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8

Ramírez, J. Jesse. „Keeping It Unreal: Rap, Racecraft, and MF Doom“. Humanities 10, Nr. 1 (28.12.2020): 5. http://dx.doi.org/10.3390/h10010005.

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Focusing on the masked rapper MF Doom, this article uses Karen E. Fields and Barbara J. Fields’s concept of “racecraft” to theorize how the insidious fiction called “race” shapes and reshapes popular “Black” music. Rap is a mode of racecraft that speculatively binds or “crafts” historical musical forms to “natural,” bio-geographical and -cultural traits. The result is a music that counts as authentic and “real” to the degree that it sounds “Black,” on the one hand, and a “Blackness” that naturally expresses itself in rap, on the other. The case of MF Doom illustrates how racialized peoples can appropriate ascriptive practices to craft their own identities against dominant forms of racecraft. The ideological and political work of “race” is not only oppressive but also gives members of subordinated “races” a means of critique, rebellion, and self-affirmation—an ensemble of counter-science fictions. Doom is a remarkable case study in rap and racecraft because when he puts an anonymous metal mask over the social mask that is his ascribed “race,” he unbinds the latter’s ties while simultaneously revealing racecraft’s durability.

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9

Rodríguez-Salas, Gerardo. „Communitarian Theory and Andalusian Imagery in Carmel Bird’s Fiction. An Interview“. IRIS, Nr. 35 (30.06.2014): 123–39. http://dx.doi.org/10.35562/iris.1803.

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Australian writer Carmel Bird writes fiction that, while being highly individual and varied, settles within the Australian traditions of both Peter Carey’s fabulism and Thea Astley’s humane wit. As William H. Wilde, Joy Hooton and Barry Andrews state (1994), Bird is a “witty writer with a wide but always highly original tonal range”, who “raises what is often potentially sinister or horrific to something approaching comedy. Disease, deaths and violence are staples in her fictional world, which has similarities with Barbara Hanrahan’s Gothic sensuality and feminist irony, although Bird’s deadpan humour is a distinctive, determining element”. The present interview focuses on an unexplored area in Bird—Andalusia, Spain—which, paradoxically, becomes the backcloth of some of her fiction—like the recent Child of the Twilight (2010)—and a prolific source of inspiration. The following pages explore Bird’s Andalusian/Spanish visions as regards nationalistic, religious, and cultural constructions. To that end, the theoretical communitarian discussion of figures like Ernest Gellner, Ferdinand Tönnies, Benedict Anderson, Jean-Luc Nancy and Maurice Blanchot will prove useful in the structural framework of this interview. Bird herself clarifies that her contribution is not offered from an academic perspective; she speaks about herself as a writer largely unaffected by academic bias. However, communitarian theorisation will prove useful in clarifying her depiction of nationalistic and religious values, while, in the process, she sheds some light on the slippery concept of “Australian writing” and the construction of Spanish cultural values from the perspective of an Australian writer. This interview offers a fresh rendition marked by the humorous, spontaneous and truthful tone that characterises Bird’s fiction.

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10

خليفة علي, صباح عطا الله, und زيد ابراهيم اسماعيل. „Barbara Kingsolver: Evaluating Her Contribution to the Eco-Feminist Novel“. ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 1, Nr. 7 (25.11.2019): 65–82. http://dx.doi.org/10.36473/ujhss.v1i7.982.

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Climate change, together with terrorism, economic depressions, and mass-destructive weaponry, is a source of international phobia for many people. The advancement in technology increases the competition among world powers and economic systems to develop their industrial enterprises. The smoke that emits from the factories, the pollution caused by the industrial projects, the excessive use of green gas result in the increase of global warming and have catastrophic effects on the ecosphere of the planet. Besides, man’s wrong practices even in agricultural matters are exhausting the natural resources of the lands, and they badly affect the ecological diversity and the wellbeing of the humans and non-humans alike. Contemporary feminist writers treat this international crisis as a priority and start to devote their writings to address ecological issues. These eco-feminists believe that their suffering from patriarchal oppression is not different from man’s exploitation of nature. Through their ecological activism, they endeavor to protect the environment and the planet from the selfish practices of the industrial companies. Barbra Kingsolver is one of the early pioneers of this emerging fictional subgenre. As previous studies of her works focus on individual novels, this study is an evaluation of her contribution to eco-feminist fiction in three major works: Animals Dream, Prodigal Summer, and Flight Behavior.

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11

Sandock, Mollie. „Forms of Feeling in Victorian Fiction. Barbara Hardy“. Modern Philology 84, Nr. 4 (Mai 1987): 446–49. http://dx.doi.org/10.1086/391587.

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12

Wilt, Judith. „: Forms of Feeling in Victorian Fiction. . Barbara Hardy.“ Nineteenth-Century Literature 41, Nr. 4 (März 1987): 470–73. http://dx.doi.org/10.1525/ncl.1987.41.4.99p0055i.

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13

Barba, Eugenio. „The Fiction of Duality“. New Theatre Quarterly 5, Nr. 20 (November 1989): 311–14. http://dx.doi.org/10.1017/s0266464x00003626.

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Eugenio Barba's work with Odin Teatret, and more recently with the International School of Theatre Anthropology, has always been substantiated by a body of developed critical theory, and in NTQ he has specifically developed his ideas about the nature of the actor's work in relation to its energies and their origins in experience and social ritual. In NTQ1 (1985), he outlined the problems involved in analyzing theatre-works rooted in performance rather than the written word; in NTQ4 (1985) he discussed his concept of the ‘dilated body’, through which the performed taps the wellsprings of art and experience; and in NTQ16 (1988), he expanded his idea of the ‘body-in-life’, describing the balance of energies which is essential for the actor to be fully realized. Here, he looks at the way in which the body is falsely perceived as the ‘actor's instrument’, as somehow separate from himself, and discusses the processes of ‘inculturation’ and ‘acculturation’ – which give the actor a true ‘second-nature’, and distinguish his work as ‘ritual in search of a meaning’.

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14

Jucker, Andreas H. „Features of orality in the language of fiction: A corpus-based investigation“. Language and Literature: International Journal of Stylistics 30, Nr. 4 (29.09.2021): 341–60. http://dx.doi.org/10.1177/09639470211047751.

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This paper explores the pervasiveness of features of orality in the language of performed fiction. Features of orality are typical of spontaneous spoken conversations where they are the result of the ongoing planning process and the interaction between the interlocutors, but they also occur in the context of performed fiction (movies and plays) and in narrative fiction (e.g. novels). In these contexts, they are not the result of the spontaneous planning process but are generally produced to imitate such processes. In this paper, I explore a small range of such features (contractions, interjections, discourse markers, response forms and hesitators) in four corpora of performed fiction that have recently become available ( Corpus of American Soap Operas, TV Corpus, Movies Corpus and Sydney Corpus of Television Dialogue) and compare their frequency patterns with spontaneous face-to-face conversations in the Santa Barbara Corpus of Spoken American English and with narrative fiction and academic writing in the Corpus of Contemporary American English (COCA). The results confirm that the selected features of orality are used regularly in performed fiction but less frequently than in spontaneous face-to-face interactions while they are rare in narrative fiction and almost entirely absent in academic writing. The results also show that the status of the transcriptions contained in these corpora needs to be assessed very carefully if they are to be used for a study of pragmatic features.

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15

AKSOY, Kadir, und Mustafa Zafer BALBAĞ. „Examination of the Relationship Between Science Fiction Self-Efficacy and Spatial Ability of Science Teacher Candidates“. Acta Didactica Napocensia 16, Nr. 1 (31.08.2023): 157–69. http://dx.doi.org/10.24193/adn.16.1.11.

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"In the study, it is aimed to examine the relationship between science fiction self-efficacy and spatial ability of science teacher candidates. The study is quantitative research and correlation research was used as a research design. The study group consisting of 200 science teacher candidates was formed by using the convenience sampling method. The data collection tools are Santa Barbara Solids Test, Spatial Ability Self-Report Scale and Science Fiction Self-Efficacy Scale for Science Teacher Candidates. Correlation analysis was performed in the analysis of data and Pearson Correlation for normally distributed data and Spearman Correlation for non-normally distributed data was used. As a result of analyzes, for science fiction candidates it was concluded that there is a moderately positive and significant relationship between spatial ability and spatial ability self-report, a moderately positive significant relationship between science fiction selfefficacy and spatial ability self-report, and a weak positive significant relationship between science fiction self-efficacy and spatial abilities. According to the findings, it was concluded that science teacher candidates make a consistent self-assessment in terms of their spatial ability. Moreover, it has been determined that some improvement in spatial ability can be achieved by using science fiction as a tool to develop spatial ability."

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16

Żółkoś, Monika. „Fikcje antropocenu. Literatura XXI wieku wobec katastrofy klimatycznej“. Jednak Książki. Gdańskie Czasopismo Humanistyczne, Nr. 15 (19.12.2022): 6–21. http://dx.doi.org/10.26881/jk.2022.15.01.

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This article explores narrative trajectories of conceptualizing climate change in modern literature. The main goal is to extend frames of Anthropocene fiction beyond science fiction genre in novels written in the twenty-first century. Taking humanistic approach to climate crisis as a starting point, the article concentrates on strand of literature based on realistic convention that presents planetary crisis not as futuristic phantasy but as contemporary process. Drawing on the work of Richard Powers, Maja Lunde, Charlotte McConaghy, Barbara Kingsolver, Sigriđur Hagalin Björnsdóttir, and Hanya Yanagihara, I argue that thay create subgenre od climate fiction that present planetary catastrophe in non-spectacular and unconventional way to regain affective power of literature and provoke imagination. Another important aspect is narrative construction of time in their novels, which concentrate on compering different moments in planetary chronology to present human kind as one of many episodes in process of life shaping on Earth and thereby to challenge anthropocentric approach to problem of climate change.

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Spencer, Suzette A., und Carlos A. Miranda. „Abrading Boundaries: Reconsidering Barbara Chase-Riboud's Sculpture, Fiction, and Poetry“. Callaloo 32, Nr. 3 (2009): 711–16. http://dx.doi.org/10.1353/cal.0.0494.

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18

Clark, Urszula, und Sonia Zyngier. „Women beware women: detective fiction and critical discourse stylistics“. Language and Literature: International Journal of Stylistics 7, Nr. 2 (Mai 1998): 141–58. http://dx.doi.org/10.1177/096394709800700203.

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This article examines the work of four contemporary writers of detective fiction (P.D. James, Amanda Cross, Sara Paretsky and Ruth Rendell/Barbara Vine) from a critical discourse stylistics perspective with the objective of raising the reader's awareness of the ideological processes that are manifested in the language of these texts. It considers how these writers deal with stereotypical assumptions, how they cope with socially determined traditional roles and verify whether their choices result in the articulation of an alternative discourse. The investigation arrives at some identifiable cultural and linguistic characteristics which may be singular to this new group of writers. We suggest that by challenging traditional representations of women, these writers may be offering a reconstruction of the genre.

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Kohlke, Marie-Luise. „The Neo-Victorian Doctor and Resurrected Gothic Masculinities“. Victoriographies 5, Nr. 2 (Juli 2015): 122–42. http://dx.doi.org/10.3366/vic.2015.0189.

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Both neo-Victorian fiction and popular discourse repeatedly reprise the nineteenth-century Gothic doctor figure to represent a crisis of post-Enlightenment masculinity, as well as problematising the past's continuing influence over our own time. From parodic to sinister re-imaginings of transgressive medical men, the trope constitutes a significant schema through which the nineteenth century is filtered, formatted, and reactivated in and for the present. This essay attempts both an overview of the prevalence of this neo-Victorian trope and an exploration of its deployment in a series of literary case studies of Gothicised masculinities including Faye L. Booth's Trades of the Flesh (2009), Barbara Chase-Riboud's Hottentot Venus (2003), Sheri Holman's The Dress Lodger (1999), Matthew Kneale's English Passengers (2000), and Barbara Vine's The Blood Doctor (2002).

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20

Fraser, Sarah. „Disputing Historical Invisibility: Cherokee Removal and Barbara Kingsolver’s “Homeland”“. Studies in the American Short Story 4, Nr. 1 (März 2023): 36–54. http://dx.doi.org/10.5325/studamershorstor.4.1.0036.

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ABSTRACT Barbara Kingsolver first story in her only volume of short fiction set the spectrum of values for her entire career. It deals with place and family, their sense of belonging, and the history of her Cherokee ancestors. Central to the plot is the issue of identity formation in the conflict between her people and the dominant culture. The commercialization of Native culture has created a artificial picture of the tragic reality of the removal of this society from their ancient lands.

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21

Nini, Karim Zakaria. „Terrorisme et politiques de dépossession(s) dans Le serment des barbares de Boualem Sansal“. ALTERNATIVE FRANCOPHONE 2, Nr. 1 (06.11.2017): 92–104. http://dx.doi.org/10.29173/af29329.

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Nous proposons dans cette contribution de nous intéresser aux effets du terrorisme sur la société dépeinte dans Le Serment des barbares, premier roman de l’écrivain algérien Boualem Sansal. Dans cette fiction, l’auteur décrit une société quotidiennement soumise au terrorisme, un fléau qui vient s’ajouter à une histoire nationale parsemée de politiques dévastatrices pour l’équilibre social. Nous verrons dans cet article comment le terrorisme fait suite à une succession de traumatismes historiques qui agissent simultanément sur le quotidien et les imaginaires d’une société qui tente de résister à ces multiples violences qui lui sont imposées. Les blessures du terrorisme dans Le Serment des barbares viennent se rajouter aux séquelles encore palpables du colonialisme et des politiques oppressantes pour le citoyen menées après l’indépendance. Nous verrons comment cette succession de violences agit comme un facteur de dépossession sur l’individu et la société.

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22

Ken, Don, Guy Vanderhaeghe und Per K. Brask. „Rebels in Time: 3 Plays by Ken Mitchell, I Had a Job I Liked. Once.“ Canadian Theatre Review 77 (Dezember 1993): 81–83. http://dx.doi.org/10.3138/ctr.77.014.

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Saskatchewan must have the highest number of produced and published playwrights per capita of any province in Canada. Playwrights such as Connie Gault, Kim Morrissey, Barbara Sapergia, Dianne Warren, Rod MacIntyre, Ken Mitchell, Archie Crail, Geoffrey Ursell, (until fairly recently) Rex Deverell, and (until even more recently) Greg Nelson, among others, have graced Saskatchewan with their habitation. Many of these playwrights are also accomplished in other genres and now Guy Vanderhaeghe, celebrated for his prose fiction, has joined their number by adding playwriting to his substantial abilities.

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23

Yi, Young-ae. „A Study on Barbara Kingsolver’s Flight Behavior as a Climate Fiction“. NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 80 (30.11.2021): 155–73. http://dx.doi.org/10.21087/nsell.2021.11.80.155.

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24

Penuel, Suzanne. „Barbara L. Estrin.Shakespeare and Contemporary Fiction: Theorizing Foundling and Lyric Plots“. Women's Studies 43, Nr. 1 (02.01.2014): 107–11. http://dx.doi.org/10.1080/00497878.2014.852433.

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25

Cancel, Robert. „BOOK REVIEW: David Attwell and Barbara Harlow.SOUTH AFRICAN FICTION AFTER APARTHEID, ED. Spec. issue ofModern Fiction Studies46.1 (2000).“ Research in African Literatures 33, Nr. 1 (März 2002): 182–83. http://dx.doi.org/10.2979/ral.2002.33.1.182.

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26

Milovidov, Viktor A. „GENDER AND AESTHETIC EVENT IN THE “FEMININE” PROSE (ON THE MATERIALS OF BARBARA KINGSOLVER’S WORKS)“. RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, Nr. 5 (2023): 120–28. http://dx.doi.org/10.28995/2686-7249-2023-5-120-128.

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Gender as a category helps to clarify the specific nature of the aesthetic object and the aesthetic event in fiction prose. The gender component reveals itself in visual manifestations of style. As the language proves to be the means of realization of human biological intentions, gender tends to influence the formation of the aesthetic object and the aesthetic event valid for the triad author-character-reader, accounting for its variability. The first novel by the Pulitzer Prize winner Barbara Kingsolver, a writer of the second wave of American feminism, is an illustration of such processes.

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Richards, Leah. „Class, Crime, and Cannibalism in The String of Pearls; or, The Demon Barber as Bourgeois Bogeyman“. Journal of Working-Class Studies 5, Nr. 1 (01.06.2020): 118–31. http://dx.doi.org/10.13001/jwcs.v5i1.6261.

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Although the tale of Sweeney Todd is one with significant cultural resonance, little has been written about the text itself, The String of Pearls. This article argues that the text engages with anxieties about class conflict through a narrative that enacts exaggerated versions of various interactions. In the nineteenth century, critics objected to the cheap fiction pejoratively known as penny dreadfuls, asserting that the genre’s exciting tales of bloodshed, villainy, and mayhem would seduce readers to lives of debauchery and crime, but I argue that this concern about cheap fiction was not for the preservation of the souls of the poor and working classes but rather for the preservation of the middle classes' own corporeal bodies and the system that privileged and protected them. While there is no question that the narrative enacts extreme manifestations of problems facing the urban poor—among them, contaminated or even poisonous foodstuffs and the perils of urban anonymity—it also features an intractable and rapacious lower class and a subversion of the master-servant dynamic on which the comforts of the middle class were constructed, and so, in addition to adventure, detection, and young love, The String of Pearls offers a dark revenge fantasy of class-based violence that the middle-class critics of the penny dreadful were perhaps justified in fearing. tl;dr: Eat the Rich!

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McIntyre, Ashleigh. „Zoomorphism and Human Biology in Barbara Kingsolver’s "Prodigal Summer"“. Ecozon@: European Journal of Literature, Culture and Environment 14, Nr. 2 (29.10.2023): 177–94. http://dx.doi.org/10.37536/ecozona.2023.14.2.4827.

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This article explores the conceptual difficulties that arise when fiction explores humankind’s primordial ties to nature, specifically regarding gender representation. I examine how an emphasis on biology demonstrates humankind’s innate connection to nature, while simultaneously perpetuating a problematic, essentialist view of gender. Using Barbara Kingsolver’s Prodigal Summer (2000) as a case study, I present two perspectives from which to interpret her ecofeminist approach. Firstly, I argue that Kingsolver employs zoomorphism as an effective strategy to override essentialist representations of sexuality. Secondly, I use Hans Gumbrecht’s theory of presence to contextualise the representation of biology and claim that Prodigal Summer attempts to dilute a much broader conceptual binary between humankind and nature.

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Greenwood, Emily. „A Tale of Two O's: Odysseus and Oedipus in the Black Atlantic“. New West Indian Guide / Nieuwe West-Indische Gids 83, Nr. 3-4 (01.01.2009): 281–89. http://dx.doi.org/10.1163/13822373-90002454.

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[First paragraphs]Crossroads in the Black Aegean: Oedipus, Antigone, and Dramas of the African Diaspora. Barbara Goff & Michael Simpson. Oxford: Oxford University Press, 2007. xii + 401 pp. (Cloth US$ 150.00)Romare Bearden: A Black Odyssey. Robert G. O’Meally. New York: DC Moore Gallery, 2007. 116 pp. (Cloth$ 45.00)Commenting on cultural imperialism under European colonialism, Frantz Fanon (1990:39) remarked that “The settler makes history; his life is an epoch, an Odyssey.” In Fanon’s analysis the settler’s sense of history derived from the history of the “mother country,” rather than the history of the colony that he or she inhabited. But history did not stop here: the reference to the Odyssey reminds us that behind the modern colonial metropolis was a fictional line of descent reaching back to a Greco-Roman cradle, such that theEuropean settler could lay claim to an even more ancient cultural inheritance. The two books examined here make short work of these classical imperial fictions; O’Meally demonstrates how Romare Bearden’s collages of theOdyssey collaborate with Homer, jazz style, to produce an epic that Black America can recognize as its own. If the voyage of Odysseus is sometimes taken to symbolize the migration of ancient Greek civilization toward the West, Barbara Goff and Michael Simpson interject the troubled figure of Oedipus, who plays Poseidon to the settler’s Odyssey, disrupting the voyage and confusing the trajectory (p. 268).Both studies are timely and speak to a wave of recent research on Black Classicism – an examination of the work to which the classical tradition has been put in Africa and the African diaspora, ranging from the hegemonic appropriation of Classics by colonizers and slave-owners to the use ofClassics as an ironic counterdiscourse that writes back to racism and imperialism, or as a source of mythopoiesis in the formation of modern black identity.

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Piechota, Dariusz. „W KRĘGU FIKCJI KLIMATYCZNEJ (CLIMATE FICTION). NA MARGINESIE LEKTURY LOTU MOTYLA BARBARY KINGSOLVER ORAZ JASNOŚCI MAI WOLNY“. Humanistyka i Przyrodoznawstwo, Nr. 28 (06.12.2022): 95–110. http://dx.doi.org/10.31648/hip.8509.

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Niniejszy artykuł poświęcony jest analizie nowego gatunku literackiego, jakim jest fikcja klimatyczna. Termin ten rozpowszechnił sięw drugiej dekadzie XXI w. Niektórzy naukowcy postrzegają cli-fi jako odmianę science fiction ze względu na obecne w nim motywy charakterystyczne dla utworów postapokaliptycznych. Inni z kolei traktują cli-fi jako podgatunek fikcji spekulatywnych, posługujący się różnymi konwencjami (np. thrillera, science fiction, prozy realistycznej). W przeciwieństwie do fantastyki cli-fi pełni funkcję dydaktyczną i stanowi rodzaj ostrzeżenia przed grożącą ludzkości katastrofą. Do popularnych motywów występujących w cli-fi należą: powodzie, deforestacje, wymieranie gatunków zwierząt, katastrofy spowodowane wybuchem w elektrowniach atomowych. W niniejszym artykule autora interesują dwie powieści zaliczane do cli-fi. Pierwsza z nich (Lot motyla) posługuje się poetyką realistyczną, opisując zjawisko globalnego ocieplenia. Druga (Jasność), będąca pierwszą polską cli-fi, wykorzystuje poetykę postapokaliptyczną, ukazując skutki eksplozji w elektrowni atomowej w miasteczku Bethlem

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Rowe, Robert. „Jean Anderson, Carolina Miranda and Barbara Pezzotti,Serial crime fiction: dying for moreJean Anderson, Carolina Miranda and Barbara Pezzotti,The foreign in international crime fiction: transcultural representations“. Translator 22, Nr. 2 (03.05.2016): 251–56. http://dx.doi.org/10.1080/13556509.2016.1186914.

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Burton, Antoinette. „Quartet in Autumn and the Meaning of Barbara Pym“. Historical Reflections/Réflexions Historiques 47, Nr. 2 (01.06.2021): 36–48. http://dx.doi.org/10.3167/hrrh.2021.470204.

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Barbara Pym’s fiction has been viewed as an anthropological approach to the social mores of postwar Britain. In this article, I use one of her last novels, Quartet in Autumn, to sharpen that reading to think through how Pym articulated an aesthetics of decline by trumpeting the dying world of the White English spinster. Quartet fictionalizes the agony of what Ramon Soto-Crespo calls “decapitalized Whiteness,” that is, where economic loss and a sense of racial disenfranchisement go hand in hand. The transatlantic desire it satisfied for a world that was lost yet redeemable through good old-fashioned English “women’s” literature prefigures the nostalgia for a preglobal Britain that has underwritten much of Brexit’s affective appeal.

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Burton, Antoinette. „Quartet in Autumn and the Meaning of Barbara Pym“. Historical Reflections/Réflexions Historiques 47, Nr. 2 (01.06.2021): 36–48. http://dx.doi.org/10.3167/hrrh.2020.470204.

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Abstract Barbara Pym's fiction has been viewed as an anthropological approach to the social mores of postwar Britain. In this article, I use one of her last novels, Quartet in Autumn, to sharpen that reading to think through how Pym articulated an aesthetics of decline by trumpeting the dying world of the White English spinster. Quartet fictionalizes the agony of what Ramon Soto-Crespo calls “decapitalized Whiteness,” that is, where economic loss and a sense of racial disenfranchisement go hand in hand. The transatlantic desire it satisfied for a world that was lost yet redeemable through good old-fashioned English “women's” literature prefigures the nostalgia for a preglobal Britain that has underwritten much of Brexit's affective appeal.

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Hardister, Mia. „Femininity and the Alien Other in Under the Skin“. Ex Animo 2, Nr. 1 (2022): 12–19. http://dx.doi.org/10.5399/uo/exanimo/2.1.2.

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In this paper, I attempt to analyze the 2014 film Under the Skin through its formal and generic elements and relate these to philosophical thought regarding objectivity and gender from theorists including Kant, de Beauvoir, and Irigaray, as well as media scholars Barbara Creed and Laura Mulvey. I argue that throughout the course of the film, by its presentation of horror, science-fiction, and film noir elements, as well as its cinematography, structure, sound, and mise-en-scène a commentary on the societal objectification of women is constructed, all stemming from its presentation of the female experience as something which is inherently alien.

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Skotarczak, Dorota. „Financial Crime in Crime Fiction in Socialist Poland“. Studia Historiae Oeconomicae 34, Nr. 1 (01.12.2016): 33–44. http://dx.doi.org/10.1515/sho-2016-0003.

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Abstract Financial crime was one of the recurring themes in crime stories written in the period of socialist Poland. The writer who first undertook this subject was Leopold Tyrmand in his book “The Man with the White Eyes” (1955). The publication of this book is considered one of the symptoms of the cultural “thaw” and the end of real socialism. Tyrmand shows crime which develops when the state, cooperative and private businesses meet, but also the corruption and powerlessness of Citizen’s Militia. During Władysław Gomułka’s administration (1956–1970), this problem often recurred e.g. in the books written by Anna Kłodzińska and Barbara Gordon. Very often the villain was the “fraudulent director”. Both the meat scandal and the leather scandal were described in crime novels. Edward Gierek’s administration (1970–1980) was the time when the theme of financial crime was abandoned, but it returned after the introduction of martial law in 1981. This time, it was pointed out that it was the previous administration that had committed frauds. Crime novels accurately described the economic abnormalities of socialist Poland, the hampering of individual initiatives and the omnipresent corruption, but they also reflected the state’s policy towards the people in power who were illegally gaining wealth.

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Leroy, Delphine. „Le soap comme forme industrialisée de la fiction : l'exemple de "Santa Barbara"“. Quaderni 9, Nr. 1 (1989): 87–102. http://dx.doi.org/10.3406/quad.1989.1974.

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Eckert, Elgin K. „Barbara Pezzotti, Politics and Society in Italian Crime Fiction: An Historical Overview“. Forum Italicum: A Journal of Italian Studies 50, Nr. 3 (November 2016): 1249–51. http://dx.doi.org/10.1177/0014585816678800.

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PLANTINGA, CARL. „Barbara Foley, Telling The Truth: The Theory and Practice of Documentary Fiction“. Journal of Aesthetics and Art Criticism 45, Nr. 3 (01.03.1987): 316–17. http://dx.doi.org/10.1111/1540_6245.jaac45.3.0316.

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Stockard, Emily. „The Rhetoric of Women’s Humour in Barbara Pym’s Fiction by Naghmeh Varghaiyan“. Tulsa Studies in Women's Literature 42, Nr. 1 (März 2023): 168–70. http://dx.doi.org/10.1353/tsw.2023.0012.

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Kotaba, Katarzyna. „Książki Barbary Gawryluk lekarstwem na problemy duszy“. Paidia i Literatura, Nr. 3 (31.12.2021): 1–10. http://dx.doi.org/10.31261/pil.2021.03.14.

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This article is an attempt to examine whether literature can be a remedy for the problems faced by children of different ages. The report Children’s rights from the perspective of children, parents and teachers was published in 2019 by UNICEF Polska. It has been used to diagnose the reasons for unhappiness among children aged 12—17. Among the reasons are: school and education, relationships with loved ones, relationships with peers. In her article, Katarzyna Kotaba refers to such authorities as Irena Borecka, Maria Molicka, and Bruno Bettelheim and to their unanimous opinion that good and valuable literature takes seriously children, their concerns and difficulties; moreover, this kind of literature helps children to overcome difficulties by building their self-confidence. Kotaba identifies the main thematic motifs in Gawryluk’s fiction and shows how this writer’s novels can help under-age readers cope in specific life situations, such as the parents’ divorce, emigration, and racism. In conclusion, she suggests that Gawryluk’s novels could be regarded as a cure for young readers’ problems as identified in the UNICEF report.

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Christaki, Angélique, und Pauline Iarossi. „L'exil de Thémistocle, ou L'expérience intime du sujet“. Dialogue 59, Nr. 3 (September 2020): 403–14. http://dx.doi.org/10.1017/s0012217320000372.

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RÉSUMÉLe mot «migrants» n'existait pas dans la langue des Hellènes; ils étaient plus familiers avec le vocable de l'exil et de l'asile. D'ailleurs, l'exil ne saurait se penser sans son corollaire, l'asile, comme le citoyen antique sans le barbare et la démocratie sans la tyrannie. À travers une métaphore située au carrefour de la fiction historique, de la philosophie politique et de la psychanalyse, cet article propose une réflexion sur l'exil comme condition fondamentale du sujet. L'exil est d'origine, car la langue de l'enfance, la langue dite maternelle est d'abord une langue étrangère. L'exil intime porte la marque d'une universalité qui fonde l'expérience subjective.

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Guendouzi, Amar. „Bridging The Gap Between Ghanaian Elite And Popular Fictions: Ayi Kwei Armah's The Beautyful Ones Are Not Yet Born And The Episteme Of Post-Independence Popular Literature“. African Research & Documentation 134 (2018): 58–73. http://dx.doi.org/10.1017/s0305862x00023049.

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If the recent research in African popular culture has succeeded in dismissing the traditional “binary paradigm” (Barber 1997, p. 2) that keeps compartmentalising the continent's culture into two strands, the literate/elite vs. the oral/traditional, and in asserting the domain of the popular productions as a “third space” of creative production, little has been done so far to study a possible artistic continuity between the genre of the popular and the other two genres. Indeed, while the interplay between traditional verbal arts and the modern development in the novel is extensively investigated by scholars and critics alike, little has been done until now to explore the interactions between popular and elite fictions.

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Ellerbeck, Erin. „Shakespeare and Contemporary Fiction: Theorizing Foundling and Lyric Plots by Barbara L. Estrin“. Adoption & Culture 4, Nr. 1 (2014): 231–35. http://dx.doi.org/10.1353/ado.2014.0000.

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Leeder, Karen. „The Prose Fiction of Louise von FranÃ§ois (1817-1893) by Barbara Burns“. Modern Language Review 103, Nr. 2 (2008): 586. http://dx.doi.org/10.1353/mlr.2008.0236.

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Hernáez Lerena, María. „‘The business of invoking humanity’: Barbara Gowdy and the Fiction Gone (A)stray“. University of Toronto Quarterly 72, Nr. 3 (Juli 2003): 715–37. http://dx.doi.org/10.3138/utq.72.3.715.

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Novy, Marianne. „Shakespeare and Contemporary Fiction: Theorizing Foundling and Lyric Plots by Barbara L. Estrin“. Shakespeare Quarterly 64, Nr. 4 (2013): 492–94. http://dx.doi.org/10.1353/shq.2013.0051.

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Farrell, Marcia K., und Rajni Walia. „Women and Self: Fictions of Jean Rhys, Barbara Pym, Anita Brookner“. Tulsa Studies in Women's Literature 23, Nr. 1 (01.04.2004): 144. http://dx.doi.org/10.2307/20455180.

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Via Vázquez, Valentin. „A Geology of Film-fossils: The survival images across time and space in the digital era“. Aniki: Revista Portuguesa da Imagem em Movimento 11, Nr. 2 (18.07.2024): 134–61. http://dx.doi.org/10.14591/aniki.v11n2.1057.

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This article explores the relationship between the concept of fossils and contemporary non-fiction cinema. Focusing on the space-time of cinema, materiality, and eco-feminism, in the attempt to represent the natural environment, the human being is no longer at the centre of the representation. Contemporary film subjects range instead from the stones’ iconography to the image’s survival, the archive, and its activation in the digital age. By analysing selected works by contemporary film-makers – Barbara Hammer, Deborah Stratman, Ana Vaz, Adrián Balseca, Eloïse Le Gallo, Julia Borderie and many others – this research aims to cover contemporary productions from an aesthetic and narrative perspective and see how new strategies are established to represent the natural world in the Anthropocene.

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Clear, Nic. „Utopian Geometries: Turning Forms and the (Science) Fictions of Utopian Architecture“. Architectural Design 93, Nr. 5 (30.08.2023): 112–19. http://dx.doi.org/10.1002/ad.2981.

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AbstractIt is possible to give previous artworks by other artists a new lease of life as the prima materia for further artistic endeavour. Architects Clear + Park, based in West Yorkshire, have been doing just this with a sculpture by the renowned artist Barbara Hepworth – not by renovating or relocating it, but in an act of digital appropriation. Having 3D scanned it, they manipulated the point clouds produced, to create new forms, vectors and speculative interventions of their own originality. Nic Clear, a co‐founder of the practice, explains how.

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Maroto, David. „Valid Fictional Contributions to Non-Fictional Debates: Fictocritical Writing in Artistic Research“. Acta Academiae Artium Vilnensis, Nr. 109 (14.08.2023): 65–83. http://dx.doi.org/10.37522/aaav.109.2023.160.

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Fictocritical writing has been defined as an interdisciplinary practice that seeks to “blur the boundaries between the fictional, the factual and the theoretical.” As a mode of experimental writing, it holds a great potential to reinvigorate the current state of critical art writing – specifically, artistic research. The present paper sets out to investigate the usefulness of venturing beyond the constative function of the text and discusses the performative nature of writing employed at the service of artistic enquiry. To that end, I examine three key case studies that shed light on the intricacies of fictocritical writing: Bert Danckaert’s The Extras, Barbara Browning’s The Gift, and Katrina Palmer’s The Dark Object. They all constitute artistic research projects written as novels (two of them are also PhD theses) that, at the same time, are inscribed in an art project. Furthermore, I offer a practice-based example, an excerpt from my novel The Fantasy of the Novel (also part of my PhD thesis), with the hope that the reader will be able to apprehend the effects of fictocritical writing directly, rather than just their description.

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