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Zeitschriftenartikel zum Thema "Beggars – Fiction"
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J. L., Ms Chithra. „The Paradox of Being Human and more than Human: Exploring the Class Struggle in Nancy Kress’ Beggars in Spain“. Psychology and Education Journal 58, Nr. 1 (01.02.2021): 4485–87. http://dx.doi.org/10.17762/pae.v58i1.1539.
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The human history is an apologue. It tells the struggle-some tale of races, aiming for power and prestige or for mere survival. Marxism, discontent with the existing struggle between the haves and have-nots, envisages a classless society. Science fiction, in contrast, assumes a fictious world, not of humans alone, but of a macrocosm of living and non-living creatures including human, non-human or subhuman entities. When the divergent communities co-exist within the same planet, there arises a dissonance. Posthuman theory assumes that “the dividing line between human, non-human or the animal is highly permeable.” There is quite a good number of Science fictions that conjures up towards a posthuman future. Even though, seemingly divergent aspects, Marxian and Posthuman theory, both presumes a fictional world. The first surmises on an ideal utopia of class-less society of unique economic equality, the second foresees a futuristic world of humans- less than or more than ‘humans.’ Nancy Kress’ Beggars in Spain is a typical science fiction which tells the negative impact of genetic engineering. A few fortunate parents who could afford the expensive genetic engineering, was able to brought about a new generation of sleepless children with unique features. But those without any alterations, remained as sleepers. In the long run, the ordinary humans seemed to lose the race with the much productive individuals, who is having a bonus of sleeping hours and much more added advantages. The conflict results in a class struggle of ‘haves and have-nots’. Marxian view of the class struggle between the proletariat and the aristocrats can be analyzed on par with the classification of individuals purely based on their talents whether they inherited or purposefully custom-made. The present scrutiny rounds off the assertion that, there is no ultimate victory over the war of human and posthuman races.
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Steinberg, Deborah Lynn. „Reading Sleep through Science Fiction: The Parable of Beggars and Choosers“. Body & Society 14, Nr. 4 (Dezember 2008): 115–35. http://dx.doi.org/10.1177/1357034x08096898.
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Askar Ali, M. „Islamic ‘Bakhirs’“. Shanlax International Journal of Tamil Research 6, Nr. 4 (01.04.2022): 121–25. http://dx.doi.org/10.34293/tamil.v6i4.4834.
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The lives of Islamists around the world are fundamentally religious. More than that, it is subject to the rules taught by that “religious community.” In such a religious life, the duality of being centered and marginalized becomes inevitable. Thoppil Mohammad Meeran and Keeranur Jagirrajah are the creator of the myths about the marginalized community in the creative field. The lives of various marginalized people as a result of the central political attitude are portrayed as diverse in their fiction. They have written about the marginalized mantras of sex workers, homosexuals, mercenaries, brokers, thieves, drunkards, psychiatrists, beggars, etc., unfamiliar with most Islamic myths. His works also record non-seafaring fishing Islamists, Bakhirs (wanderers), Osaks (sailors), and Motinars (front-line servants in mosques). In this context, this article examines in detail how Keeranur Zakir Raja translated into literature the record of Bakhirs living a nomadic life in the Islamic community.
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Korshunkov, V. A. „BRIDGES, ROBBERS, BEGGARS (FEATURES OF THE ROAD TRADITION OF RUSSIA IN THE 18TH - EARLY 20TH CENTURIES)“. Bulletin of Udmurt University. Series History and Philology 32, Nr. 6 (23.12.2022): 1160–67. http://dx.doi.org/10.35634/2412-9534-2022-32-6-1160-1167.
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The “culture of the road”, the “traditional culture of travel”, the “road tradition” of Russia, the circumstances of road movements in the Russian Empire have been studied by historians and other specialists only recently. However, this topic is important because it allows better understanding how traffic was organized in pre-revolutionary Russia, what difficulties and dangers it was associated with. Shaky, unreliable bridges on roads and the constant attacks of robbers were two significant circumstances that made traffic difficult. In this article, attention is drawn to those robberies that took place near bridges. There were many such cases in the 18th - early 20th centuries. This topic can be studied using a variety of narrative sources (primarily memoirs), some archival documents, and also interpreting those fiction texts that were created with a focus on authenticity (for example, based on the author’s childhood memories). Road bridges were located in low places and ravines, where a path became narrow. Bridges were often in a bad state. Travelers were forced to slow down and even get out of their vehicles. So it was very convenient places for robbers to attack. On the other hand, bridge as a mythologically significant point of the way was associated in popular reception with “evil spirits”. And robbers were perceived by the people like sorcerers and “evil spirits”. Not only robbers, but also beggars usually crowded near bridges. Professional beggars and robbers had a lot in common. In general, it turns out that in folk culture the mythological (the image of a robber in mythological narratives and folklore) can well correspond to the pragmatic (the choice of places for aggressive attacks).
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Sokolovska, S. „EPIC THEATER AS A SPECIAL TYPE OF COMMUNICATION“. Brecht-Magazine: Articles, Essays, Translations, Nr. 9 (26.12.2023): 94–103. http://dx.doi.org/10.35433/brecht.9.2023.94-103.
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Reviewing Brecht's theatrical system as communication reveals the symbolic nature of the process of transferring a message through theatrical language (code). Combining a significant number of arts, the theatrical code contains various artistic languages that together form a theatrical text. The coding of the idea of a work of fiction in epic theater is done through a gaming strategy of distancing, reminiscent of a demonstratively rational manner of storytelling. Like Lessing and Schiller, Brecht wants not only to entertain the audience, but also to educate them in the spirit of the Enlightenment, to stimulate learning processes, and to develop critical thinking.
The transformation of The Beggar's Opera into The Threepenny Opera is a model that demonstrates mastery of applying the material, an exemplary set of rules, and a technique of modification. The "old material" remains visible, but at the same time, the new in it allows us to "perceive things differently." Recognizability of the craft is crucial, because only transparency of approach brings the aesthetics and logic of the performance to the main denominator that makes repeatability possible: communication based on observation. Brecht conceives of observation on the basis of the visibility of a pointing gesture that functions as spectacles that the wearer does not even realize they are wearing. Everyday events are recreated in the manner of an eyewitness, repeated through demonstration, which implies the process of showing itself. The performance shows characters and scenes in an emphatically epic manner. The declared intention to avoid merging of the actor and the character as much as possible, and to demonstrate this as well, alienates the naturalness of the "street scene" and shows it as an artificially created repetition of the stage.
The staging of the play as an "opera" generates unexpected visual and acoustic effects. The viewer sees and hears twice: an opera about an opera, as well as a denial of the attempt to imitate an opera as an opera. This performance shows that the Threepenny Opera is no longer a traditional "old opera" and at the same time not the final version of the "new opera." Trivial ideas about groups such as beggars or romantic events such as weddings, stereotypical thinking are dramatized, thus exposing them and encouraging reflection.
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King, Ben. „The Rhetoric of the Victim: Odysseus in the Swineherd's Hut“. Classical Antiquity 18, Nr. 1 (01.04.1999): 74–93. http://dx.doi.org/10.2307/25011093.
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This paper explores some aspects of the complex narrative strategies employed by Odysseus in his lying tale to Eumaios (Odyssey 14.192-359). Odysseus' fictional autobiography is an ethical parable, designed to commend and validate the very principles of hospitality that Eumaios most cherishes. In the tale, Zeus, god of guests, punishes those who violate hospitality and protects those who depend upon it, bringing the beggar ultimately to the worthy swineherd. In adopting the persona of the wandering immigrant or outsider (metanastês), Odysseus makes use of a conventional persona found, most significantly, in the "wisdom poetry" of Hesiod. He thereby displays mastery of a traditional mode of poetic narrative. Odysseus also makes the Cretan wanderer a hero of the Trojan War and devotes a considerable portion of his narrative to describing the beggar's "Iliadic" past. His portrait of the Cretan hero draws particularly upon the model of Achilles (and, to a lesser extent, Ajax) but is in fact a one-dimensional version of the standard Iliadic hero. Thus, in his account of the beggar's adventures, Odysseus directs a subtle critique at his Iliadic counterpart by setting up an implicit contrast between the Cretan's helplessness (amechaniê) and Odysseus' own resourcefulness. Here, too, Odysseus displays a mastery of poetic traditions, inasmuch as his narrative is informed by the traditional, epic antithesis between might (biê) and intelligence (mêtis). These conclusions help to explain two incidents in Book 14 in which Odysseus' behavior is a bit puzzling. Both Odysseus' reaction to the charge of Eumaios' guard dogs and his clumsy attempt to compose an ainos provide concrete illustrations of the "helplessness" of the Cretan beggar. Odysseus acts out the very role that he so masterfully portrays in his tale.
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Closel, Régis Augustus Bars. „Utopia and the Enclosing of Dramatic Landscapes“. Renaissance and Reformation 41, Nr. 3 (12.11.2018): 67–92. http://dx.doi.org/10.33137/rr.v41i3.31542.
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This article focuses on the enclosing of the land as depicted in More’s Utopia (1516); the anonymous domestic tragedy, Arden of Faversham (1589); and the Carolinian play, A Jovial Crew (1641), by Richard Brome. It discusses how the relationship between the multiple resulting changes in the environmental, social, and economic landscape gave rise to important points for action and social debate in early modern English fiction, in which the customary pre-Reformation past is as irreconcilable as a fictional utopian world. This article argues that the emerging profitability of the newly and increasingly enclosed topography as imagined in Utopia appears in Thomas Nashe’s The Unfortunate Traveller, and its initial consequences are disclosed in the anonymous Arden, only to spread through generations of social displacement in Richard Brome’s Jovial Crew, by which time an absurd realignment of the relationship between beggary and ideal worlds is taking place in drama.
Cet article se penche sur le phénomène d’enclôture des terres tel que Thomas More le décrit dans l’Utopie, dans la tragédie anonyme intitulée Arden of Faversham (1589) et dans la pièce carolinienne A Jovial Crew (1641) de Richard Brome. On montre d’abord comment les différentes conséquences environnementales, sociales et économiques ont donné lieu à des mouvements et des débats sociaux au sein de la fiction anglaise moderne, où la l’histoire convenue du passé précédant la Réforme paraît tout aussi éloignée que la fiction d’un monde utopique. On avance que les possibilités de profit qu’offre la nouvelle topographie de terres de plus en plus clôturées, ainsi que l’imaginait l’Utopie, sont évoquées dans la pièce The Unfortunate Traveller de Thomas Nashe, que les conséquences de ces changements apparaissent dans la pièce Arden, et que les déplacement sociaux qui y ont fait suite pour des générations se retrouvent plus tard dans la pièce de Richard Brome ; à cette période, le théâtre procède à un absurde réalignement du lien entre les mondes idéaux et la mendicité.
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Berndt, Katrin. „Trapped in class? Material manifestations of poverty and prosperity in Alice Munro’s “Royal Beatings” and “The Beggar Maid”“. Neohelicon 47, Nr. 2 (18.08.2020): 521–35. http://dx.doi.org/10.1007/s11059-020-00550-1.
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AbstractThis article argues that material objects in Canadian writer Alice Munro’s short fiction both reflect socio-economic concerns of pre- and post-WWII Canadian society and complicate common conceptions of deprivation and material ambition. The analyses of “Royal Beatings” and “The Beggar Maid” demonstrate how Munro describes economic hardships, class anxieties, and social discrimination and distinction through items of material culture such as clothes, furniture, and paintings. These objects and their symbolic significance draw attention to the conflicts resulting from the interplay of her characters’ upbringings, loyalties, and their longings and aspirations.
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Belozerova, Natalia N. „Human internal organs as a possible and textual world“. Tyumen State University Herald. Humanities Research. Humanitates 5, Nr. 2 (28.06.2019): 20–34. http://dx.doi.org/10.21684/2411-197x-2019-5-2-20-34.
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Ever since Shakespeare had sent a fat king to go a progress through the guts of a lean beggar [31] human internal organs started to serve as a textual locus in fiction and non-fiction, or a subject in a possible world. Their presentation varies depending upon the purpose, the form and the style of writing, semiotic modalities of their exposition, as well as the epistemological development of knowledge. These varieties come under the umbrella property known as “the possibility of the impossible” [12]. In such possible world a cat can walk in the brain as if it were his apartments [3], or together with children travel through the whole system of human internal organs [9], or a concerto could be designed for neurons and synapses [22]. In scientific articles, a textual world takes the form of topographic maps and models, including semantic distribution [11]. With this in the mind, we state the purpose for this paper to classify the types of textual “chronotops” (in a Bakhtinian sense [2]) that characterize fictional and nonfictional loci of human internal organs. We also aim at stating the type of dependences that provide narrative shapes to a possible world inside a human body. For the analyses we attract among others M. Bakhtin’s theories of the “carnival poetics” and “Chronotop” [2], and Yu. Lotman’s theories of “semiotic textualization” [18] and “semantic intersection” [19].<br> We state as our hypotheses that a blend of epistemological knowledge, personal involvement of the authors into any sort of scientific experiment and an educational goal determine the type of the deixis or “chronotop”, the major semiotic modality being “SAVOIR”-TO KNOW (in the Greimasian sense).
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LeMon, Kathryn. „Three Blocks“. After Dinner Conversation 4, Nr. 8 (2023): 5–14. http://dx.doi.org/10.5840/adc20234872.
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How would we treat others, if they wore our face? In this work of absurdist philosophical fiction, the narrator walks three blocks each day from her car to her work. However, she has a unique situation whereby those in need “wear her face.” This makes it nearly impossible for her to ignore the plight of the homeless man selling flowers to make extra money, the beggar in front of the coffee shop asking for change, or the woman picking up her belongings in the rain. Ajmal, her coworker, doesn’t share her ability to see his face others, and, like most people, ignores the plight of others around him. He calls the narrator a saint, but she argues otherwise. She argues that, given what she sees, she really has no choice but to help. The story ends with the narrator being locked outside overnight, and another person with a similar skill, finds her and gives her a place to stay for the night.
Bücher zum Thema "Beggars – Fiction"
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Kress, Nancy. Beggars ride. New York: Tor, 1997.
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Kress, Nancy. Beggars ride. New York: Tor, 1996.
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Kress, Nancy. Beggars & choosers. New York: TOR, 1994.
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Cossery, Albert. Proud beggars. New York: New York Review Books, 2011.
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Kress, Nancy. Beggars & choosers. New York: TOR, 1996.
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George, Shwetha E. The beggars. Kottayam: D.C. Books, 2009.
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Filostrat, Christian. The beggars' pursuit. Cherry Hill, NJ: Africana Homestead Legacy Publishers, 2007.
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Minton, Mary. Beggars would ride. London: Sheridan Book Company, 1994.
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Kress, Nancy. Beggars in Spain. Harmondsworth: ROC, 1995.
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Kress, Nancy. Beggars in Spain. New York: William Morrow, 1993.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Beggars – Fiction"
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Corso, Gail Shanley. „Magic Friend, Beggar Maid and The Fair Princess, Method Actress and Loving Mother: Fantasies of Love, Loss, and Desire in Joyce Carole Oates’ Fictional Account of Norma Jeane’s Reality“. In Suicide in Modern Literature, 73–94. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69392-3_5.
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„4. Sedan-Chair Bearers, Beggars, Actors, and Prostitutes: The Worlds of the Urban Poor“. In Fact in Fiction, 111–30. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804799737-007.
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Kolb, Laura. „Debt’s Poetry, Credit’s Fictions“. In Fictions of Credit in the Age of Shakespeare, 124–50. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198859697.003.0004.
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This chapter examines Timon of Athens alongside handbooks that teach readers how to interpret the fictionalized credit world that surrounds them—a world full of false surfaces, which invite misconstrual. It focuses on the portrayal of a particular hard-to-read figure: the “rich beggar,” an outwardly wealthy person whose debts invisibly outstrip his assets. While handbook authors simply warn readers against lending to such persons, Shakespeare and Middleton go further, probing the conditions that produce this paradoxical figure. Their co-authored Timon of Athens suggests that rich beggary results less from poor estate management than from the interplay of language, conduct, and interpretation. The play suggests that the fiction-making power of debt and credit extends from the individual “rich beggar” to the fabric of society. Credit here appears as an agent of universal falsification: a demiurgic power that upends hierarchies and rewrites identities.
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Richtarik, Marilynn. „Introduction“. In Getting to Good Friday, 1—CI.P34. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886408.003.0001.
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Abstract The introduction opens with a brief discussion of Lucy Caldwell’s novel All the Beggars Riding, which explores metaphorically the experience of living in the aftermath of Northern Ireland’s late-twentieth-century Troubles and suggests that fiction can play an important role in truth-seeking and the cultivation of empathy. It then describes the genesis and development of Getting to Good Friday, which represents the author’s attempt to answer for herself the question of how peace was made in Northern Ireland. As a literary scholar, she conducted her investigation through texts that had long been significant to her but whose import shifted as she became more aware of the circumstances under which they had been written. The most distinctive feature of the book is the way the author employs literary analysis to illuminate historical events and processes. The introduction discusses personal connections between politicians such as John Hume and Martin McGuinness and writers whose work is discussed in the book and highlights the important role that non-literary creative writing played in the peace process. While acknowledging present-day criticisms of the Belfast/Good Friday Agreement, it emphasizes the Agreement’s most important accomplishment: ending thirty years of politically motivated violence in Northern Ireland. It then defines important terms used in the book (such as ‘unionist’, ‘nationalist’, ‘republican’, and ‘loyalist’) and introduces Northern Ireland’s largest political parties and their leaders during the peace process before summarizing the book’s chapters. The book itself cannot be so neatly summarized, but its form testifies to its author’s faith in narrative as a means of comprehending complexity.
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Faherty, Duncan. „Sympathy in the Era of Ungood Feelings“. In The Haitian Revolution in the Early Republic of Letters, 54—C2P71. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192889157.003.0003.
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Abstract The second chapter explores the hauntology of Haiti by focusing on how early American fiction represented the United States as hermeneutically, temporally, and ontologically disjointed by the arrival of French, Creole, and enslaved refugees. Using Martha Meredith Read’s 1802 novel Monima; or The Beggar Girl as a point of departure, the chapter maps how Federalist writers accentuated the ghostly indecipherability of foreign connections which they feared were unsettling the domestic realm. In depicting an American social scene bereft of networks of sympathetic support, Read draws linkages between radicalism in the Francophone world and the rise of Democratic-Republican politicians in the United States. A range of Federalist writers, including Read, responded to their predicament by flooding print networks with sensationalist representations of the dangers of Jeffersonianism. These Federalist fictions seized upon fears about bad plantation management as portending what a supposed abandonment of foundational principles meant for the early American Republic.
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„LIVES OF GIRLS AND WOMEN, THE BEGGAR MAID“. In Private and Fictional Words (Routledge Revivals), 83–100. Routledge, 2014. http://dx.doi.org/10.4324/9781315759043-11.
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„Eighteenth-Century Views of Popular Culture“. In Eighteenth-Century Popular Culture, herausgegeben von John Mullan und Christopher Reid, 31–85. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198711346.003.0003.
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Abstract The Introduction discussed how appropriate our ideas about popular culture might be when applied to The eighteenth century, and noticed that collisions of The polite and The popular-The elegant and The vulgar-are characteristic of much ‘high’ culture of The earlier part of The period. The energies of some visual art (Hogarth, above all) and much literature (Pope’s Dunciad, Gay’s The Beggar’s Opera, Fielding’s fiction) derive from such collisions. But how did writers of The period attempt to document popular culture, and what did They call it when They found it? This chapter presents a sample of efforts to describe a culture below The polite world to which The writers Themselves belonged.
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Ridge, Emily. „‘No one is safe from the beggar’s pack’: Portability and Precarity“. In Portable Modernisms. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474419598.003.0004.
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Chapter 3 traces the progressive alignment of portability with precarity from the late 1920s to the 1940s against a backdrop of political instability. The unfolding crisis of mass displacement across Europe served to reduce earlier literary fantasies of travelling light to nightmarish visions of involuntary exodus. These changing resonances are perceptible in the pointed obfuscations of tropes of tourism, adventure and dispossession in 1930s literature as well as the noticeable intrusion of the figure of the refugee on the artistic consciousness. If luggage becomes a figurative focal point in the works of political exiles and refugees, it is not in aid of a fantasy of creative renewal but of material, cultural and individual preservation. The chapter ends with an analysis of the fictional and non-fictional work of Elizabeth Bowen, with the inclusion of an extended close reading of The House in Paris as an updated version of Forster’s Howards End in a troubled 1930s context.
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Weliver, Phyllis. „Wanting More“. In Opera and British Print Culture in the Long Nineteenth Century, 249–76. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781638040422.003.0013.
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Opera was on Charles Dickens’s mind as he began Oliver Twist, for his rustic opera with John Hullah, The Village Coquettes, was on stage when Oliver Twist’s part publication began in Bentley’s Miscellany (February 1837). Dickens contrasted his realist objective in writing Oliver Twist with what he viewed as the moral shortcomings of John Gay’s The Beggar’s Opera; toe-tapping melodies did not warn audiences away from the thieving life. My argument is that Dickens’s formal innovations in Oliver Twist, a novel regarded as foundational in the development of the Victorian novel, are indebted to the musical aspects of London’s minor theaters, where fully-spoken plays were not allowed. The article begins by showing how songs, weaving through Bentley’s Miscellany, function like musical fillers between burlettas and farces. Oliver Twist, one of the “stock pieces” of Bentley’s Miscellany, was originally doubly framed by music. The essay then considers Oliver’s tale of misery as operatic in its own right. This comic/tragic contrast—startling to early reviewers—introduced a political edge to Dickens’s fiction. The non-verbal, tragic utterance (the cry) forms the basis of many of Oliver’s communications. Oliver Twist’s narrative thereby corrects what Dickens saw as faults of The Beggar’s Opera by replacing the thieves’ rakish airs with diegetic sounds of pain. Dickens endowed sonority with a rhetorical force, to which he drew further attention in Oliver Twist through repeated dramatic tableaux of crying and listening at moments of incarceration.
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Williams, Katherine Schaap. „Introduction“. In Unfixable Forms, 1–24. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753503.003.0001.
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This chapter attends both to what the theater demonstrates about disability in early modern culture and to what the performance of disability in the early modern theater makes possible on and beyond the stage. It identifies disability in moments when bodily impairment, incapacity, or variance is fixed as disabling through interaction with an unaccommodating world. In this sense, the chapter draws on the social model of disability in disability studies, which distinguishes between impairment and disability. It then investigates the contingent fixing of bodily difference into disability in an array of contexts as varied as, for example, political libels about a “crookbacked” shape, legal provisions for aid that scrutinize a “crippled” beggar to determine capacity for work, and surgical manuals that highlight prosthetic devices to correct the bodies of “lame” soldiers. The chapter considers moments of discursive pointing at bodily difference within a dramatic fiction. It reveals that the early modern theater's notion of disability is not the settled abstraction of a noun but something like a gerund, a verb that acts like a noun.