Thematische Bibliographien / Duchies, fiction

Auswahl der wissenschaftlichen Literatur zum Thema „Duchies, fiction“

Autor: Grafiati
Veröffentlicht am 26. Juli 2024
Zuletzt aktualisiert am 27. Juli 2024

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Zeitschriftenartikel zum Thema "Duchies, fiction"

1

Mašek, Petr. „Zámecká knihovna Nové Syrovice“. Acta Musei Nationalis Pragae – Historia litterarum 67, Nr. 1-2 (2022): 62–65. http://dx.doi.org/10.37520/amnpsc.2022.008.

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The Nové Syrovice Castle library was collected by the Counts of Nimptsch, in particular Count Johann Heinrich von Nimptsch (1723–1806) and Count Karl von Nimptsch (1803–1869), and it also contains traces of the library of the Counts Marcolini. A later part of the collection was added by the Counts of Stubenberg. What is interesting is the manuscript collection, including a set of plans and drawings depicting the Hungarian fortress of Eger (Erlau) and the legal norms applicable to the duchies of Silesia. Works coming from the 16th century were mainly written by ancient authors. Early printed books are mostly in French and Latin, to a lesser extent in German, and occasionally in other languages, such as English. In addition to fiction, the library comprises numerous works of law, history, and French scientific publications. The collection contains relatively few 19th-century books; 20th-century works are completely absent, having been discarded in the 1950s.
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2

Yosugandi, Evan Marchel, und Hendra Kaprisma. „Historical figures in “Fate/Grand Order”: adapting Anastasia Romanova“. RUDN Journal of Studies in Literature and Journalism 28, Nr. 4 (15.12.2023): 712–23. http://dx.doi.org/10.22363/2312-9220-2023-28-4-712-723.

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Historical events and figures tend to escape people’s memory as time goes by. In some cases, they are replaced by popular culture adaptations, e.g., video games, fiction, films, etc. Such adaptations may be beneficial to historical memory, preserving their historical models for posterity. Sometimes, adaptation become part of fictional history. “Fate/Grand Order” is a game released by Type-Moon in 2015 (Japan). Its fictional universe makes an active use of various characters of folklore and history, e.g., Joan of Arc, King Arthur, etc. The aim of the study is to examine the adaptation of Anastasia Romanova in the game “Fate/Grand Order”. The adaptation analysis scheme proposed by Linda Hutcheon, as well as the comparative method to cross-reference dialogs, illustrations, skills, craft essence in the game with photographs and biography of the real Anastasia Romanova were used. It is proved that Anastasia the Duchess of the Permafrost Empire from “Fate/Grand Order” is indeed an adaptation of the real Anastasia Romanova, the fourth daughter of the last Russian Emperor Nicolas II, although somewhat modified to match the traditional imagery of the Japanese popular culture.
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3

Lojo Rodríguez, Laura María. „Contradiction and ambivalence : Virginia Woolf and the aesthetic experience in "The Duchess and the Jeweller"“. Journal of English Studies 3 (29.05.2002): 115. http://dx.doi.org/10.18172/jes.73.

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In the midst of the terror waged on Europe by Nazi demonstrations of power and racial extermination Virginia Woolf published a most contrevorsial short story -"The Duchess and the Jeweller" (1938)- which was originally entitled "The Duchess and the Jew" but was changed at the request of Woolf's American publisher for its racist connotations. The story has been neglected by the critics on account of two major reasons: on the one hand, it does not partake of those innovative narrative devices that most of Woolf's fiction presents; on the other such an apparently Anti-Semitist piece of work is inconveniently at odds with the oeuvre of a writer who so ardently and energetically rejected Fascism in her pamphlet Three Guineas which was curiously simultaneous in date of composition and publication to "The Duchess and the Jeweller". Despite the fact that Woolf may have been airing her personal prejudices of race and class in the characters of Oliver Bacon and the Duchess of Lambourne, the present paper does not aim to do away with such incoherence, ambivalence and contradiction, but rather focuses on the jewel imagery which structures the narrative and which addresses questions such as the 'art for art's sake' doctrine versus the material commodity of beauty
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4

Dabbagh, Tara. „Intertextuality in Tragedy and Crime Fiction in Shakespeare’s Othello, Webster’s The Duchess of Malfi, Christie’s Curtain and Sleeping Murder“. Al-Adab Journal, Nr. 128 (15.03.2019): 77–96. http://dx.doi.org/10.31973/aj.v0i128.417.

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Christie maneuvers the storylines of Shakespeare’s Othello (c. 1604) and Webster's The Duchess of Malfi (1613/14) into crime fiction in, respectively, Curtain (1975) and Sleeping Murder (1976), establishing the actions of certain characters as patterns of behavior. Yet, despite the similarities in the four texts, and in accordance with the requirements of her genre, she does not allow the resulting structuralist intertextuality diminish the suspense in her stories. Unlike the tragedies which aim at emotional involvement, her two books
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5

Levy, Michael. „The Duchess of MalfiRevisited: J. R. Dunn's Science Fiction Revenge Tragedy“. Extrapolation 43, Nr. 4 (Januar 2002): 456–64. http://dx.doi.org/10.3828/extr.2002.43.4.7.

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6

Landais Choimet, Monique. „problèmes sociaux révélés par la fiction critique française contemporaine : Cora dans la spirale de Vincent Message“. Anuario de Letras Modernas 27, Nr. 1 (10.06.2024): 56–72. http://dx.doi.org/10.22201/ffyl.26833352e.2024.27.1.1932.

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Faisant suite au projet de recherche réalisé entre 2019 et 2021, La Littérature de terrain qui vise à réparer le monde, le présent article propose une lecture sociocritique d’un roman contemporain intitulé Cora dans la spirale (2019) de Vincent Message. Il convient de préciser l’emphase mise sur la démarche méthodologique afin de faciliter une future application de cette approche sociocritique pour tout lecteur à d’autres textes. Dans un premier temps, il s’agit d’élaborer un cadre théorico-critique qui fournisse les définitions des concepts-clé adaptés à ce récit littéraire : sociogramme, sociotexte/chronotope, médiations discursives et sociales qui concernent le domaine littéraire ainsi que deux autres critères fondamentaux pour la présente analyse, habitus et imaginaire social, empruntés à la sociologie. Ce référent définitionnel s’appuie sur l’apport de sociocriticiens et sociologues tels que Claude Duchet, Patrick Maurus, Pierre Popovic, Anthony Glinoer et Pierre Bourdieu, ou bien sur d’autres penseurs, François Hartog et Dominique Viart, entre autres, dans le but de nourrir notre lecture grâce à l’appropriation de catégories provenant d’autres disciplines. Dans un deuxième temps, ce même paradigme conceptuel sous-tend la lecture afin de révéler les rouages sociaux-économiques sous-jacents qui perturbent profondément l’existence des protagonistes. À ceci, il faut ajouter que l’approche proposée se veut ouverte et perfectible ainsi que le souhaite la sociocritique au pluriel, personnelle et collective, hétérogène et internationaliste. Mots-clés : approche sociocritique, démarche méthodologique, romans contemporains, dialogues interdisciplinaires, Claude Duchet, lecture ouverte, rouages socio-économiques.
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7

Mann, Jenny C. „“Framed in Wax”: Fiction as Artificial Experience in The Duchess of Malfi“. English Literary Renaissance 52, Nr. 3 (01.09.2022): 413–25. http://dx.doi.org/10.1086/721065.

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8

Candel, Daniel. „Systematizing evil in literature: twelve models for the analysis of narrative fiction“. Semiotica 2021, Nr. 242 (13.08.2021): 141–68. http://dx.doi.org/10.1515/sem-2020-0071.

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Abstract While there are interesting connections between literature and evil, there is as of yet no systematic collection of models of evil to study literature. This is problematic, since literature is among other things an evaluative discourse and the most basic evaluative category is the polarity of good versus evil. In addition, evil shows important affinities with basic narratological principles. To initiate a discussion of models of evil for the analysis of literature, this article organizes a dozen models of evil into four groups. The first consists of a core model which coincides with basic narratological elements in character analysis and narrative tension. The second group contains two pre-modern models of evil, defilement and moral-natural evil. The third group takes its cue from personality theory and proposes the five-factor model of personality and an enriched “dark triad,” and, to balance description against narration, a model which categorizes kinds of murder. The last group organizes six models around the thematic opposition between nature and society, an opposition which forms the backbone of Western philosophy and narrative. To test their validity, the models are applied to a series of literary examples/characters, above all Grendel (Beowulf), Browning’s “My Last Duchess,” and Carol Oates’ short story “Heat.”
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9

Vidal, Hélène. „Between Sensibility and History: The Count de Rethel (1779) by Georgiana Spencer Cavendish, Duchess of Devonshire“. Humanities 13, Nr. 4 (26.07.2024): 101. http://dx.doi.org/10.3390/h13040101.

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The Count de Rethel: An Historical Novel (1779) can be ascribed to Georgiana Spencer Cavendish, Duchess of Devonshire (1757–1806) as a translation of Anecdotes de la cour de Philippe-Auguste (1733) by Marguerite de Lussan. The action is set at the court of Philip II of France, known as Philip Augustus, at the time of the war with King Henry II and the Crusade with Richard I, known as the Lionheart. This inspired revival of fictionalised medieval history heralding romanticism in the age of sensibility refashions the codes of chivalry according to the aesthetics of the second half of the eighteenth century. This essay focuses on the interplay between fiction and history, between the present of writing and the rewriting of history through Cavendish’s translational prism, featuring the Middle Ages as a golden age of heroism and the Count de Rethel as a paragon of ancient virtue set against contemporary men of fashion.
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10

Decker, John R. „Aid, Protection, and Social Alliance: The Role of Jewelry in the Margins of theHours of Catherine of Cleves“. Renaissance Quarterly 71, Nr. 1 (2018): 33–76. http://dx.doi.org/10.1086/696888.

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AbstractThis article examines five miniatures in the “Hours of Catherine of Cleves” (completed 1442), each containing representations of jewelry in the margins, which operate on two different levels. First, they demonstrate Catherine of Cleves’s adoration of five female saints. I argue that the fictive jewelry may be understood as simulated ex-votos designed to secure the aid and protection of the saints. Second, the images establish strategic alliances with each saint. As a final dimension, I explore how the vitae of these saints may have had resonances for the duchess that help explain the focus placed on them in the manuscript.
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Bücher zum Thema "Duchies, fiction"

1

Hunter, Jillian. The wicked duke takes a wife. New York: Ballantine Books, 2009.

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2

James, Eloisa. The ugly duchess. Thorndike, Me: Center Point Large Print, 2012.

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3

Michaels, Kasey. How to tempt a duke. Don Mills, Ont: HQN, 2009.

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4

Britton, Pamela. Scandal. New York: Grand Central Publishing, 2007.

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5

Michaels, Kasey. How to Tempt a Duke. Toronto, Ontario: HQN, 2009.

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6

Scott, Susan Holloway. Duchess. New York: Penguin USA, Inc., 2009.

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7

Warren, Susan May. Duchess. New York: Summerside Press, 2013.

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8

Beatrice Small -- Love Slave. The duchess. New York: Ballantine, 2001.

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9

Deveraux, Jude. The duchess. New York: Pocket Books, 1992.

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10

Lejeune, Tamara. Christmas with the Duchess. Kensington Publishing Corporation, 2010.

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Buchteile zum Thema "Duchies, fiction"

1

„III. The Book of the Duchess“. In Chaucerian Fiction, 59–74. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400867578-005.

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2

„The Death of the Duchess“. In Chaucer and the Fictions of Gender, 58–86. University of California Press, 2023. http://dx.doi.org/10.2307/jj.2711555.6.

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3

„3. The Death of the Duchess“. In Chaucer and the Fictions of Gender, 58–86. University of California Press, 1992. http://dx.doi.org/10.1525/9780520328204-004.

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4

Spearing, A. C. „A Ricardian ‘I’: The Narrator of ‘Troilus and Criseyde’“. In Essays on Ricardian Literature, 1–22. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198182825.003.0001.

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Abstract It seems scarcely believable that Troilus and Criseyde could once have been discussed without reference to ‘the narrator’, yet this now indispensable figure was invented less than fifty years ago. In 1915 Kittredge, identifying in The Book of the Duchess a fictional narrator who ‘is not Geoffrey Chaucer’, nevertheless continued to refer to the ‘I’ of Troilus simply as ‘Chaucer’. That practice was followed in other standard studies.
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