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Majidova, Ilaha Adil. „The conceptual interpretation of S. King`s literary heritage“. SCIENTIFIC WORK 62, Nr. 01 (08.02.2021): 159–61. http://dx.doi.org/10.36719/2663-4619/62/159-161.
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S.King is a modern American writer of supernatural, horror fiction, science fiction and fantasy. His works are powerful because he integrates his life experiences and observations into idiosyncratic stories. He uses a free style of writing. Generally By the help of supernatural beings, vampire, demon, insubstantial events he mystifies and shocks readers, confuses their minds. The writer’s psycho-emotional situation, inner world rebound his works. This article is devoted to the conceptual interpretation of S.King’s creativity. In his works he tries to show the depth of his imagination. Key words: modern American literature, fantasy, horror fiction, psycho-emotional creativity, mystical elements
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KOVTUN, Elena. „SLAVIC SCIENCE FICTION AND FANTASY IN INTERFACULTY COURSES AT LOMONOSOV MOSCOW STATE UNIVERSITY (2013-2020)“. Ezikov Svyat volume 20 issue 3, ezs.swu.v20i3 (20.10.2022): 422–26. http://dx.doi.org/10.37708/ezs.swu.bg.v20i3.13.
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The article shares the author’s experience of teaching interfaculty science fiction (sci-fi) and fantasy lecture courses at Lomono-sov Moscow State University, attended by students of all departments. In the period between 2013 and 2020 six such courses were taught, the number of students varying from 250 to 450 each. The courses comprised sci-fi and fantasy theory, sci-fi and fantasy status among other types of fiction narratives, the main stages of Russian and foreign sci-fi and fantasy history, the creative activity of outstanding sci-fi and fantasy writers of the 20th and 21st centuries. Apart from the Russian, West European and North American writers, works by East European (Slavic) authors were thoroughly examined. The article contains neat observations on the degree of Slavic sci-fi and fantasy writers’ popularity among young Russian readers and on the most inter-esting fiction texts for students. The data obtained through the analysis of the students’ assignments comprise their answers to the questions about their favorite sci-fi writers and books lists, on the reasons of certain fantastic worlds’ attractiveness, on their preferences in sci-fi or fantasy. The article also clarifies the principles of writers and their works selection for the lecture cours-es, it characterizes the creative activity of Slavic writers and reveals the interrelation between Slavic writers’ fiction works and the general scope of problems discussed at interfaculty sci-fi lecture courses. Taking into account the students’ interest in works by Karel Čapek, Stanislaw Lem, Andrzej Sapkowski and other Slavic authors, we suggest some ideas about the potential structure of a specialized lecture course focusing on science fiction and fantasy in Slavic countries.
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Anisimova, Olga Vladimirovna. „Portrait of the writer: the peculiarities of literary technique of Roger Zelazny“. Litera, Nr. 4 (April 2021): 145–53. http://dx.doi.org/10.25136/2409-8698.2021.4.35298.
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The subject of this research is the unique literary technique of the prominent American fantasy and science fiction writer Roger Zelazny, the author of the world-renowned novels, such as “The Chronicles of Amber”, “This Immortal”, "The Lord of Light”, etc. The article is dedicated namely to determination of the key peculiarities of the poetics of his works. Special attention is given to characterization of his literary path, its periodization, the impact of Zelazny's predecessors – the authors of science fiction and classical world literature – upon his prose. It is noted that R. Zelazny was fascinated with various mythological systems, such as Egyptian, Greek, Norse, Celtic, and Christian. The scientific novelty of this article lies in the attempt to reveal and systematize the most remarkable features of the works of the American fantasy and science fiction writer, whose impact upon the modern fantasy literature can hardly be overestimated; however it has been poorly studied within the Russian literary studies. The conducted analysis of the poetics Roger Zelazny’s iconic novels, created within the framework of the four main stages, indicates the use such postmodernist literary technique as intertextuality. The matter of R. Zelazny is also characterized by psychologism, interpreted as the author's attention to the meticulous reconstruction of the inner cosmos of the hero, which resembles the result of the writer's passion for the ideas of psychoanalysis. Along with the other representatives of the New Wave, Zelazny was prone to the experiment with forms, as well as to the synthesis of the various fantasy genres. Therefore, many of his novels demonstrate the fusion of science fiction, fantasy, space opera, mystery, and detective fiction.
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Paranyuk, Dan, und Alyona Tychinina. „Intertextuality of the Personosphere as a Factor of Meta-Genre (Clifford Simak “Shakespeare’s Planet”)“. Pitannâ lìteraturoznavstva, Nr. 107 (30.06.2023): 216–37. http://dx.doi.org/10.31861/pytlit2023.107.216.
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The article under studies deals with the issue of regeneration of genre forms of science fiction literature through its evolution. In the context of topical issues of poetics, it outlines the genrological status of science fiction and fantasy in terms of genre modifications – genre, genre variety, sub-genre, mega-genre, and meta-genre. Particular emphasis has been placed on the fact that the evolution of science fiction into a meta-genre format is due to a number of factors, such as the simulative nature of the chronotope of possible and parallel worlds, the change in the anthropological vector of texts, and the involvement of samples of other art forms (intermedial components). In addition, the activation of intertextual narratives in the personosphere (which becomes an important parameter of the meta-genre) has been identified as a marker of the genre evolution of fantasy. The creative activity of the American classic of science fiction prose Clifford Simak (1904–1988) may be regarded as a typical example of how science fiction writers appeal to “other authors’ texts”. This research relies on the analysis of his novel “Shakespeare’s Planet” (1976), in which the reader’s attention is mainly focused on the intertextual parameters of the personosphere, which significantly expands the hyper-real chronotope of the science fiction world. The works by William Shakespeare are identified as the prototexts for fantasy texts. Interpreted by Simak, the Shakespearean imagological narratives are implemented through quotations, reminiscences, anthropological allusions (the use of Shakespeare’s characters’ names), as well as through the introduction of the figure of Shakespeare himself into the fantasy personosphere. What is more, the figure of the English classic occasionally appears as the very center of the personosphere, its confocal axis. It has been determined in the article that the mystified and ironic story of Shakespeare’s timeless existence ferments the internal content of the fantasy text. Besides, the personosphere of a fantasy novel with several fictional narratives also includes the classic’s texts, such as “Hamlet”, “Twelfth Night”, “The End Praises the End”, “The Comedy of Errors”, “King Lear”, “Macbeth”, “Othello”, “Pericles”, “The Taming of the Shrew”, “Richard III”, and “Titus Andronicus”. In this case, in Simak’s “Shakespeare’s Planet”, they perform the function of additional (implicit) narratives, and, consequently, as a particular (intertextual) link in the personosphere. In conclusion, the article claims that the consistent generation of new literary genre formats in the field of the cultural continuum is an immanent feature of the complex literary process, which can be fully realized only with the help of the reader’s rich receptive background.
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Paranyuk, Dan. „“The End of Human Exceptionality”: The Shift of the Anthropological Dominant in Science Fiction“. Pitannâ lìteraturoznavstva, Nr. 104 (27.12.2021): 163–81. http://dx.doi.org/10.31861/pytlit2021.104.163.
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Based on the methodological proposals of literary anthropology, in particular on the conceptual ideas of C. Levi-Strauss (structural anthropology), J. Ortega y Gasset (“dehumanization of arts”), J.-M. Schaeffer (“the end of human exceptionality”), M. Foucault (the fall of a human being from the humanistic pedestal of culture), the article under studies emphasizes the violation of the anthropological dominant in science fiction, which is very typical of the fantasy genre. Consequently, there arise new principles of constructing personosphere of a literary text. On the example of the novel “City” (1953) by an American science fiction writer Clifford Simak, the article traces the way a human being shifts from the center of personosphere to the “outskirts” of narration, whereas its image acquires fictional parameters. This all happens due to the phenomenon of “anthropocene” (the term by G. Canavan), which implies the harmful consequences of the human reigning over the nature. In addition, the author of the article introduces the notion of “phantasoid’ – a character of the fictional world of fantasy (outlined by the narrator) that functions exceptionally in the imagination of a certain fantastic character and is somehow related to his previous experience. The novel by C. Simak outlines a gradual shift of the anthropological vector: the heterogeneous image of a human turns into a counter-image, whereby particular significance is attached to the change in the attitude towards mankind. In the text, human culture is perceived as something alien, while Simak’s image of a human being ruins the so called imagological stereotype, along with the reader’s receptive expectations. The role of the attractor in the novel is assigned to “antromorphized” and “humanized” creatures (plants, animals, objects, robots, mutants), which indicates the drastic breach with the previous genre tradition, as well as higlights a peculiar polemic connection with classical literary science fiction. This all proves the metamorphic nature of science fiction and its transition into the hyperreal dimensions of fantasy, where different artificial forms of life and mentality can peacefully coexist with each other.
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Malykh, Viacheslav Sergeyevich. „HYBRID SPECULATIVE FICTION AS A GENRE PHENOMENON IN MODERN LITERATURE OF THE U.S. AND RUSSIA“. Russian Journal of Multilingualism and Education 14 (28.12.2022): 79–85. http://dx.doi.org/10.35634/2500-0748-2022-14-79-85.
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The article is devoted to theoretical exploration of modern hybrid speculative fiction. This term comprises a huge body of creative works which are written at the intersection of genres related to speculative prose. On the one hand, hybrid speculative fiction is rooted in post-modern epoch, on the other hand, it returns to the principles of hybrid genre genesis, which flourished at the beginning of the 20th century. The tendency to genre eclecticism is a common feature of a great number of modern creative works and seems to be an efficient way out of conceptual crisis emerged in speculative fiction at the close of the 20th century, that is why the future development of speculative fiction is expected to be closely connected with the expansion of hybrid genre forms. The overall goal of the article is to scientifically comprehend hybrid genres in modern speculative fiction of the United States and Russia. The investigation of hybrid speculative fiction as a genre and cultural phenomenon leads to setting three goals. Firstly, it is necessary to determine genre taxonomy of such genres of traditional speculative fiction as science fiction, fantasy, and horror. Secondly, it is necessary to investigate genre-forming models, which underlie modern hybrid works. Thirdly, it is important to understand common features of the works of hybrid speculative fiction. The study of the genre interaction in modern speculative fiction is based on the descriptive and functional methods. The comparison of Russian and American works involves the use of comparative, typological and cultural-historical methods. Using the genre blocks common for both literary criticism, readers’ expectations and publishing practice, it is possible to identify such genre-forming models of hybrid speculative fiction, as: science fiction+fantasy; science fiction+horror; fantasy+historical novel; fantasy+postmodernist novel. It is also possible to sum up such common features of the works of hybrid speculative fiction, as: irrational world outlook; distortion of the very structural basis of traditional science fiction; shift of sociocultural model of world outlook; polyphonic principle of narration and potentially an endless unravelling of the plot without a pronounced climax; postclassical narrative model; the complexity of storyline. To conclude, modern hybrid speculative fiction can be treated as a separate literary and sociocultural phenomenon in the literature of the U.S. and Russia. It destroys inner canons of traditional science fiction, it is deeply influenced by post-modern cultural paradigm, and could be described as a significant cultural movement, which is aligned with demands and values of modern society.
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Mukhin, O. „XXI century as a cultural turn in American space fiction cinema“. Culture of Ukraine, Nr. 78 (23.12.2022): 73–78. http://dx.doi.org/10.31516/2410-5325.078.09.
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The purpose of this article is the analysis of new stage in American space fiction cinema’s history, which started from the XXI century and set the new directions for genre, which were shown in movies “The Martian” (2015, director — R. Scott), “Guardians of the Galaxy” (2014, director — J. Gunn), “Interstellar” (2014, director — K. Nolan), “Thor” (2011, director — K. Brannah), “Ad Astra” (2019, director — J. Gray), “Avengers” (2012, director — J. Whedon).
The methodology of this article includes the use of historical, comparative and systematic methods. Each of these methods helps to reveal the place of space fiction’s new era in the whole history of this genre in XX–XXI centuries, and to find the cultural senses and messages, which the new stage proposes to society.
The results of this work present a detailed survey of newest stage of American cinema space fiction in XXI century and key directions, for which the new films are produced. Moreover, this work reveals how these directions from new stage influence on the genre’s perspectives and development in the future.
The scientific novelty of the research. This work fills the gap of cultural studies dedicated to the topic of the article, as the vast majority of materials that analyze the theme of fantasy in cinema are humanitarian.
The practical significance of the article. The article will be useful for scholars who want to expand their knowledge on the topic mentioned in the title, as well as for anyone interested in cinema, science fiction, American cinematography and media culture in general.
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Gordon, Andrew. „The Inescapable Family in American Science Fiction and Fantasy Films“. Journal of Popular Film and Television 20, Nr. 2 (April 1992): 1–8. http://dx.doi.org/10.1080/01956051.1992.9943963.
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Anisimova, Olga Vladimirovna, und Inna Makarova. „Mythopoetics of Literature: a Symbolic Language of British and American Fantasy and Science Fiction“. Litera, Nr. 1 (Januar 2023): 45–56. http://dx.doi.org/10.25136/2409-8698.2023.1.39451.
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The paper deals with the study of peculiarities of mythopoetics inclusion in British and American literatures. In particular, it highlights the specificity of the way English-speaking writers refer to such mythopoetic images as tree, raven and dragon. The study is done on the works by famous fantasy and sci-fi writers: John Ronald Reuell Tolkien, Roger Zelazny, Jack Vance and George Martin. A wide range of writings in various genres of literature brings certain difficulties connected with the selection of the study material. The criteria applied to fictional texts selected for the undertaken research are as follows: the degree of influence of a particular writer, the significance of mythologemes under consideration in terms of a particular text, and their level of reinterpretation in the writings of selected novelists. The novelty of a given research is connected with considering selected mythopoetic images in the context of particular examples of British and American fantasy and science fiction never regarded together before. The research findings highlight two leading directions of English-language literatures references to the world mythopoetic heritage of ancient times. Firstly, we see the way such mythologemes as tree, raven and dragon are interwoven in the fictional discourse to create a medieval atmosphere; secondly, writers incorporate archetypical images into their texts as elements of their own myth. The second direction seems to be more promising for it results in new interpretations of classical images rather than their exploitation in new texts, thus encouraging the expansion of their symbolic content.
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Saldivar, R. „Historical Fantasy, Speculative Realism, and Postrace Aesthetics in Contemporary American Fiction“. American Literary History 23, Nr. 3 (02.08.2011): 574–99. http://dx.doi.org/10.1093/alh/ajr026.
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Osteen, M. „Around Quitting Time: Work and Middle-Class Fantasy in American Fiction“. American Literature 74, Nr. 3 (01.09.2002): 680–82. http://dx.doi.org/10.1215/00029831-74-3-680.
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CROWNSHAW, RICHARD. „Deterritorializing the “Homeland” in American Studies and American Fiction after 9/11“. Journal of American Studies 45, Nr. 4 (November 2011): 757–76. http://dx.doi.org/10.1017/s0021875811000946.
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Literary criticism has debated the usefulness of the trauma paradigm found in much post-9/11 fiction. Where critiqued, trauma is sometimes understood as a domesticating concept by which the events of 9/11 are incorporated into sentimental, familial dramas and romances with no purchase on the international significance of the terrorist attacks and the US's response to them; or, the concept of trauma is understood critically as the means by which the boundaries of a nation or “homeland” self-perceived as violated and victimized may be shored up, rendered impermeable – if that were possible. A counterversion of trauma argues its potential as an affective means of bridging the divide between a wounded US and global suffering. Understood in this way, the concept of trauma becomes the means by which the significance of 9/11 could be deterritorialized. While these versions of trauma, found in academic theory and literary practice, invoke the spatial – the domestic sphere, the homeland, the global – they tend to focus on the time of trauma rather than on the imbrication of the temporal and the spatial. If, instead, 9/11 trauma could be more productively defined as the puncturing of national fantasies of an inviolable and innocent homeland, fantasies which themselves rest on the (failed) repression of foundational violence in the colonial and settler creation of that homeland, and on subsequent notions of American exceptionalism at home and, in the exercise of foreign policy, abroad, then the traumatic can be spatialized. In other words, understood in relation to fantasy, trauma illuminates the terroritalization and deterritorialization of American history. After working through various examples of post-9/11 fiction to demonstrate parochial renditions of trauma and trauma's unrealized global resonances, this article turns to Cormac McCarthy's 9/11 allegory The Road for the way in which its spaces, places and territories are marked by inextricable traumas of the past and present – and therefore for the way in which it models trauma's relation to national fantasy.
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Koenigs, Thomas. „A “Wild and Ambiguous Medium”: Democracy, Interiority, and the Early American Epistolary Novel“. American Literary History 35, Nr. 1 (01.02.2023): 8–22. http://dx.doi.org/10.1093/alh/ajac160.
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Abstract This essay argues that early American novelists’ sustained commitment to epistolary fiction reflects their recognition that the mediated access it offered to inner life made it a potent vehicle for highlighting the limits of our ability to decipher the concealed interiorities of other people. Faced with the question of how novels might best prepare readers for republican social and political life, novelists such as Charles Brockden Brown and Susanna Rowson turned to this increasingly outmoded form because it foregrounded the uncertainties inherent in reading inner life. Eschewing third-person fiction’s fantasy of direct access to another mind, these novels foster an epistemological humility regarding other interiorities that would be valuable in negotiating civic life in the early republic. While early American novels have long been regarded as encouraging sympathetic identification as a means of establishing political union, novels such as Brown’s Clara Howard and Rowson’s Sincerity instead harness the epistolary novel’s partial, uncertain revelations of interiority to highlight our inability to access fully someone else’s thoughts or feelings. These novels warn readers that successfully navigating the epistemological challenges of this new democratic social order requires resisting the fantasy that another person’s true feelings can ever be fully known.Rowson and Brown saw epistolary novels as a means of not just teaching Americans how to read inner life, but also of cautioning them that they could never do so with certainty.
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Khronopulo, L. Yu. „The influence of Fredric W. Brown’s micro fiction on Hoshi Shin’ichi’s and Akagawa Jirō’s short-short stories“. Japanese Studies in Russia, Nr. 2 (04.07.2022): 95–107. http://dx.doi.org/10.55105/2500-2872-2022-2-95-107.
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The short-short story was first introduced by Japanese writer Tsuzuki Michio, who in the late 1950s – the early 1960s familiarized the Japanese reader with extra-short stories of American author Fredric W. Brown (1906–1972); his traditions were followed by Japanese writer Hoshi Shin’ichi (1926–1997), Akagawa Jirō (b. 1948), and other authors experimenting in the new genre of social and psychological science fiction, as well as in the genre of fantasy and detective stories. In American literature, three major specific features of a short-short story were formulated: 1) a fresh idea, 2) an unexpected turn of events, 3) an unpredictable ending. These specific features can be traced in Japanese extra-short stories as well. Since the process of the emergence and development of the extra-short story as a new form of Japanese literature was influenced by American micro fiction, the research examines the elements borrowed from Fredric W. Brown’s micro fiction in Hoshi Shin’ichi’s and Akagawa Jirō’s first short-short stories; this includes genres, topics, canons, artistic styles and devices, as well as the treatment of certain social problems. The paper analyzes Hoshi’s and Akagawa’s short-short fiction from a comparative perspective, with an emphasis on intertextuality – shaping of a text’s meaning by another text, in this case, the texts by an American writer. Some literary parallels to Fredric W. Brown’s micro fiction can be found in Hoshi Shin’ichi’s first collection of short-short stories «Bokko-chan» (1971), which consists of stories written in 1958–1970, as well as in Akagawa Jirō’s first collection of short-short stories «The Dancing Man» (1986), which consists of stories written in the late 1970s – early 1980s. The succession of plots and philosophical ideas by Brown is examined on the material of seven early short-shorts by Hoshi, where the allusion to the American writer’s micro fiction can be traced; in addition, it is also noted that, in some mystic extra-short stories by Akagawa, it is not the plots which are borrowed, but mostly artistic devices and various techniques, such as psychologism, black humor, wordplay, and metaphorical images. American origins of the Japanese short-short story are investigated for the first time.
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Ross, Stephen. „Around Quitting Time: Work and Middle-Class Fantasy in American Fiction (review)“. MFS Modern Fiction Studies 48, Nr. 2 (2002): 488–90. http://dx.doi.org/10.1353/mfs.2002.0039.
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Carter, Brenda Choresi. „Around Quitting Time: Work and Middle-Class Fantasy in American Fiction (review)“. Modernism/modernity 9, Nr. 2 (2002): 349–50. http://dx.doi.org/10.1353/mod.2002.0025.
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Knighton, Andrew. „Around Quitting Time: Work and Middle-Class Fantasy in American Fiction (review)“. Cultural Critique 56, Nr. 1 (2004): 213–18. http://dx.doi.org/10.1353/cul.2003.0060.
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Maksym W., Kyrchanoff. „SciFi Cinema as one of Spatial Localizations of Military Images in American Mass Culture“. Humanitarian Vector 16, Nr. 5 (November 2021): 77–86. http://dx.doi.org/10.21209/1996-7853-2021-16-5-77-86.
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War is one of the most popular topics in modern mass culture. The author analyzes the features of the perception of war in modern science fiction cinema. The purpose of this article is to analyze the representation of war in American science fiction as a form of historical memory in mass culture. The author uses inventionism methods to analyze the images of war in the film production of mass culture as “invented traditions” of the consumer society. The range of perception of war and military experience in popular culture is analyzed. Modern global film industry and national film industries regularly address military themes in the world or national contexts, producing films that actualize military experience of nations and states. The film industry segments that specialize in the production of science fiction and fantasy films also do not ignore the military theme. It is supposed that popular culture offers a variety of images of war, including militarism, violence, military collective trauma, and military political psychosis. The author believes that military theme in popular culture arose as a result of reflection on real military conflicts, and the creators of the pop-cultural project could reject the war or idealize it. The author believes that military science fiction in modern American mass culture actualizes the values of pacifism or militarism as reflections of the left or right preferences of the creators of such cultural product for the consumer society. Science fiction films actualize various forms of war, including global military clashes, civil conflicts, aggression, intervention and genocide. Popular culture is becoming the main sphere of existence of the memory of war because military conflicts of science fiction series can be perceived in the consumer society as more real than the historical wars of the past. Military images of mass culture are supposed to actualize various forms of war memory, including memory as trauma, memory as marginalization, and memory as nostalgia which idealize war.
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Smith, Dina, Casey Stannar und Jenna Tedrick Kuttruff. „Closet cosplay: Everyday expressions of science fiction and fantasy fandom among women“. Fashion, Style & Popular Culture 7, Nr. 1 (01.01.2020): 29–50. http://dx.doi.org/10.1386/fspc_00004_1.
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Abstract Some American science fiction and fantasy (SF&F) female fans participate in Cosplay or costume play, the global practice of dressing in costume and performing fictional characters from popular culture. Cosplay is typically only socially sanctioned at conventions and other fan events, leaving fans searching for new ways to express their fandom in everyday life. Closet cosplay is one solution in which everyday clothing and accessories can be worn to express fandom. The motivations for wearing everyday fan fashion have been only briefly mentioned by other authors or studied within limited social contexts. Therefore, the purpose of this research was to explore SF&F female fans' participation in closet cosplay as it is worn in everyday contexts. An exploratory qualitative study was conducted using a social interactionist perspective, and Sarah Thornton's concept of subcultural capital and Pierre Bourdieu's theory of cultural capital. Semi-structured, online interviews were conducted with sixteen participants who wore closet cosplay related to SF&F films and/or television series, which included Star Wars, Marvel Comics, DC Comics, Disney films, Harry Potter and anime fandoms like Sailor Moon (1995‐2000). The interview data were analysed using NVivo qualitative analysis software and the constant comparison method. Two themes emerged from the data: the definition of closet cosplay and motivations for wearing closet cosplay. Through examining these themes, it was evident that female SF&F fans used closet cosplay to express a salient fan identity, which enabled them to simultaneously gain subcultural capital and feminized cultural capital.
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Bell, Erin. „BDSM in American Science Fiction and Fantasy LewisCall. New York: Palgrave Macmillan, 2013.“ Journal of American Culture 36, Nr. 4 (Dezember 2013): 366–67. http://dx.doi.org/10.1111/jacc.12058.
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Anisimova, Olga Vladimirovna, und Inna Makarova. „Mythopoetic Images of Irish Mythology in American Fantasy (the Case of Roger Zelazny's "Chronicles of Amber" - Corwin Cycle)“. Litera, Nr. 4 (April 2023): 92–101. http://dx.doi.org/10.25136/2409-8698.2023.4.39999.
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The article is devoted to the study of key images of Irish mythology, widely used in fantasy literature, in particular, in American novels written in the second half of XX-th century. The paper considers the images of ship, tree and raven. Special attention is paid to their artistic interpretation in the novels of a famous American science fiction writer, the representative of New Wave - Roger Zelazny. The paper examines the etymology of these images, their origins in Sumero-Akkadian, Jewish and Greek mythologies, their main symbolic meanings and further interpretation in Zelazny's key novel - "The Chronicles of Amber". As a result, the complex characteristics of the three images both in the ancient mythologies and in the context of first five parts of the novel by the American science fiction writer, namely in the Corwin Cycle, have been provided. The findings achieved show that ship turns out to be connected with the key image of the novel - the Pattern, among other things symbolizing the process of initiation of the main characters. The tree, in its turn, acts as the primary basis of the Amber universe, its multilevel structure. Finally, the raven, the alter ego of the main character - Prince Corwin - stands for his destiny, filled with contradictions and relentless battles.
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M. Elizabeth Ginway. „A Paradigm of the Tropical: Brazil in Contemporary Anglo-American Science Fiction and Fantasy“. Science Fiction Studies 40, Nr. 2 (2013): 316. http://dx.doi.org/10.5621/sciefictstud.40.2.0316.
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Drab, Ewa. „Teenage Identity in the Face of the Other in Nnedi Okorafor’s Organic Fantasy“. Romanica Silesiana 19, Nr. 1 (29.06.2021): 129–39. http://dx.doi.org/10.31261/rs.2021.19.11.
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The present paper aims at discussing What Sunny Saw in the Flames by Nnedi Okorafor as a fantasy novel for children and young adults focused upon the question of self-identification. In the framework of fiction for younger audiences, the fantasy mode becomes a tool which allows to examine the topics important to young readers, such as identity and their place within the society, by providing a confrontation with the Other. The example of Nnedi Okorafor’s book, known in the USA as Akata Witch, shows how the instrumentation of a fantasy novel enables an exposition of the process in which the protagonist grows on the intellectual, emotional and cultural levels. In other words, the fantasy mode aids in the exploration of Sunny’s American-Nigerian origin, her albinism, coming of age and the comprehension of her identity. Simultaneously, as additional topics emerge from the analysis, it becomes visible that the question of the Self cannot be separated from the concept of the Other, with the lesson of empathy and respect for what is different.
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Srinivasan, Ragini Tharoor. „“English like Hindi”: Chetan Bhagat, Popular Fiction, and India’s Voice“. Comparative Literature 76, Nr. 1 (01.03.2024): 20–43. http://dx.doi.org/10.1215/00104124-10897094.
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Abstract This essay examines the rise of Chetan Bhagat, an icon of the New India “after English” who ironically writes his best-selling popular fictions in English. When Bhagat’s demotic English travels outside India, it is taken up by readers and critics whose responses to his work reveal the persistence of the fantasy of accessing India’s unmediated voice. The essay reads the extant Anglo-American critical discourse on Bhagat, with special attention to the postcritical and post-postcolonial turns in contemporary literary scholarship. It argues that Bhagat’s anointment as a global Anglophone literary icon with purchase on the “real” India lays bare a problem endemic to English literary studies—namely, the problem of enacting comparative literary analysis within English itself. It also raises a number of questions at the intersections of world literature and the global Anglophone, which are rival strategies for the teaching of non-Western literatures in English in US academe. In its concluding sections, the essay considers whether it is possible to teach Bhagat’s “English like Hindi” without allowing it to masquerade as a conduit to a supposedly authentic Indian vernacular sphere.
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Inloes, Amina. „A Muslim Reflection on Dangerous Games“. American Journal of Islam and Society 33, Nr. 3 (01.07.2016): 138–49. http://dx.doi.org/10.35632/ajis.v33i3.930.
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For over two decades, a moral panic over fantasy role-playinggames has swept America, fuelled by a minority of fundamentalistChristians who have campaigned against games such as Dungeons& Dragons on the grounds that they led youth to Satanism, suicide,and violent crime. In his 2015 book, Dangerous Games: What theMoral Panic over Role-Playing Games says about Play, Religion,and Imagined Worlds, David Laycock explores why fantasy roleplayinggames seem similar enough to religion to provoke fear,as well as the dynamics of this moral panic. While he, apparently,did not set out to write a book about Islam, his insights about religion,fantasy, and narrative opened my eyes to the dynamics oftwentieth-century Islam. Additionally, as a Muslim reader livingduring a “moral panic” over Islam, Laycock’s analysis helped meunderstand that today’s Islamophobia in America has little to dowith Islam. Lastly, although Muslim gamers, fantasy/sciencefictionauthors, and game developers are usually underacknowledged,there is increasing interest in Muslims and fantasy/science-fiction. I hope to call attention to this invisible cohort.
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Łaszkiewicz, Weronika. „Decolonizing the Anthropocene: Reading Charles de Lint’s "Widdershins"“. Acta Neophilologica 2, Nr. XXII (01.12.2020): 161–72. http://dx.doi.org/10.31648/an.5593.
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The aim of this paper is to examine Charles de Lint’s novel Widdershins(2006), whose main theme is an interspecies war for the American land. The paper demonstrates how, by exploring the themes of Indigenous suffering, belief in species interconnectedness, reverence for the natural world, and approach to trauma, the novel participates in the deconstruction of colonial structures present in the concept of the Anthropocene. The paper also engages de Lint’s novel in a dialogue with the studies on the Anthropocene to prove that, by providing its readers with alternative modes of thinking, fantasy fiction can contribute to the cognitive change required to save our planet from human-wrought destruction.
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O. Pagan, Nicholas. „From C.Y. Lee to Shawn Wong: The Transnational Family and its Implicit Rules“. Southeast Asian Review of English 58, Nr. 2 (15.12.2021): 30–45. http://dx.doi.org/10.22452/sare.vol58no2.3.
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Employing the distinction between explicit and implicit rules as formulated by psychoanalytic theorist and philosopher Slavoj Žižek, this article examines the way in which challenges toward an initial rule-based fantasy take place within transnational families. In particular, the article employs an implicit, unwritten rules framework to assess the effect of transpacific migration on the institution of family within the Chinese American diaspora as represented in post-World War II fiction by Asian Pacific authors C.Y. Lee and Shawn Wong. Suggesting five implicit rules underpinning Chinese American families, the article examines Lee’s The Flower Drum Songto highlight early challenges to these rules before finding in Wong’s Homebasean unflinching adherence to an implicit rule concerning reverence for ancestors. Wong has the advantage of writing in the wake of the 1965 Immigration and Nationality Act and of being in a position to trace more and more challenges to the initial fantasy following later waves of transpacific migration. His novel American Kneesis then shown to epitomize the implicit rules being stretched almost to breaking point as, for instance, the criteria for spouse selection becomes no longer Chinese or partially Chineseor even Asian or partially Asian but Americanization.
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Mihály, Vilma-Irén. „Trends in Young Adult Literature. A Glance at American and British Fantasy with an Eye on the Transylvanian Variant“. Acta Universitatis Sapientiae, Philologica 14, Nr. 1 (01.12.2022): 58–69. http://dx.doi.org/10.2478/ausp-2022-0005.
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Abstract The present paper looks at the main contemporary trends in writing literature for young adult readers The theoretical part focuses on possible definitions and characteristics of young adult literature by distinguishing it from children’s literature and adult fiction, as well as by establishing the different age groups these novels are written for The practical part of the paper gives examples of different types of novels written for this particular audience, such as J K Rowling’s prominent Harry Potter series, but also Lois Lowry’s The Giver or Meg Cabot’s Abandon trilogy At the end, the study also presents a Transylvanian author who has recently started writing fantasy for young adults, namely Balázs Zágoni, and his Black Light series
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Hauke, Alexandra. „A Woman by Nature? Darren Aronofsky’s mother! as American Ecofeminist Gothic“. Humanities 9, Nr. 2 (26.05.2020): 45. http://dx.doi.org/10.3390/h9020045.
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In this essay, I discuss Darren Aronofsky’s 2017 feature film mother! in the context of an intersectional approach to ecofeminism and the American gothic genre. By exploring the histories of ecofeminism, the significances of the ecogothic, and the Puritan origins of American gothic fiction, I read the movie as a reiteration of both a global ecophobic and an American national narrative, whose biblical symbolism is rooted in the patriarchal logic of Christian theology, American history, female suffering, and environmental crisis. mother! emerges as an example of a distinctly American ecofeminist gothic through its focus on and subversion of the essentialist equation of women and nature as feminized others, by dipping into the archives of feminist literary criticism, and by raising ecocritical awareness of the dangers of climate change across socio-cultural and anthropocentric categories. Situating Aronofsky’s film within traditions of American gothic and ecofeminist literatures from colonial times to the present moment, I show how mother! moves beyond a maternalist fantasy rooted in the past and towards a critique of the androcentric ideologies at the core of the 21st-century Anthropocene.
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Behlman, Lee. „The Escapist: Fantasy, Folklore, and the Pleasures of the Comic Book in Recent Jewish American Holocaust Fiction“. Shofar: An Interdisciplinary Journal of Jewish Studies 22, Nr. 3 (2004): 56–71. http://dx.doi.org/10.1353/sho.2004.0048.
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Withers, Jeremy. „Fantastic Cities: American Urban Spaces in Science Fiction, Fantasy, and Horror ed. by Stefan Rabitsch et al.“ Science Fiction Studies 49, Nr. 3 (November 2022): 582–85. http://dx.doi.org/10.1353/sfs.2022.0063.
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Ficek, Agnieszka Anna. „Designing Truth between Manuscript and Publication: The Eighteenth-Century French Vision of Peru in Marmontel’s Les Incas (1777)“. Eighteenth-Century Fiction 36, Nr. 2 (01.04.2024): 303–7. http://dx.doi.org/10.3138/ecf.36.2.303.
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This essay interrogates the tensions between historical fact and colonial fiction in Jean-François Marmontel’s Les Incas, ou le destruction de l’Empire du Pérou (1777). Through this study of deleted passages and publisher notes in the 1776 manuscript of the novel (Houghton Library, Harvard University), Marmontel’s concern with verisimilitude, truth, and objective reality belies the fantasy of conquest and the myths of American Indigeneity that are central to eighteenth-century French understandings and imaginings of the Inca Empire and the American continent as a whole. Politically, the novel served a dual purpose: to vehemently denounce the Spanish conquest of the Americas and to subversively critique the “fanaticism” of the ancien régime in the years leading up the 1789 Revolution. Across the Atlantic, the novel was read by generals of the Latin American Wars of Independence, and it shifted from an allegorical text to a direct call for revolution. Despite Marmontel’s aim of creating a philosophical and historical novel, Les Incas perpetuates the hegemonies and hierarchies of colonialism, falling back onto well-established tropes. In choosing what was considered in Europe as “exotic” as a vehicle for political critique, Les Incas maintains and reinforces the very systems against which the revolutionaries of the late eighteenth century fought.
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Kovtun, Elena N. „The Universe of Afterlife Intertext in Fantasy of 20th–21th Centuries: The Functionality of Art Model“. Studia Litterarum 7, Nr. 4 (2022): 34–53. http://dx.doi.org/10.22455/2500-4247-2022-7-4-34-53.
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The article comprises the summarized results of the author’s investigation of the Universe of Afterlife — the post-mortem home of human soul — as a specific locus in Russian, Slavic, European and North American fantasy of 20th–21th centuries. More than a hundred fiction texts under analysis, referring to the genre of fantasy, depict the Universe of Afterlife as an isolated area, unmistakably identified both by the author and the reader, and characterized by its own space-time and landscape parameters, population diversity, system of social and moral norms. The article outlines the invariant features of the Universe of Afterlife narrative, allowing to raise an issue of the unified “Universe of Afterlife Intertext,” inherent in the literature of fantasy of the examined period. Besides, it introduces the images of the meeting guard, mentor or guide, accompanying the personage through the afterlife kingdom. The article proposes the classification of basic models of the Universe of Afterlife according to the criteria elaborated by the author; it also features the most widely-spread plotcomposition schemes of the Universe of Afterlife narrative. The conclusion contains the comprehensive characteristics of the functionality of the Universe of Afterlife art image and the summary of the different writer’s ideas and hypotheses on the aims, meaning and duration (finiteness or eternity) of post-mortem existence.
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Carroll, Jessie. „From Yale to Hollywood: A Journey in Film Directing with John Badham“. Film Matters 14, Nr. 2 (01.09.2023): 72–76. http://dx.doi.org/10.1386/fm_00286_1.
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John Badham is a film and television director whose creative works are notable for the ways they have influenced a range of American cultural norms and attitudes, especially in the 1970s. Indeed, his commercial and creative success, Saturday Night Fever (1977) was recognized by the Library of Congress in 2001 for its cultural, historic, and aesthetic significance. The director began his career in theater and television and quickly broadened into feature filmmaking. His films have been nominated for five Academy Awards and two Emmy Awards, and he has won three Saturn Awards from the Academy of Science Fiction and Fantasy. In this interview for Film Matters, John Badham—also a professor at Chapman University—shares his early influences, his formative years in Hollywood, and his creative approach to filmmaking, including the importance of sound and innovative adaptation.
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Adinolfi, Roberto. „Some Interpretations of Foreign Literature during the Epoch of Socialism“. Scientific knowledge - autonomy, dependence, resistance 29, Nr. 2 (30.05.2020): 283–94. http://dx.doi.org/10.37708/bf.swu.v29i2.20.
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This paper will focus on some Bulgarian translations of works by foreign writers that were published during the epoch of Socialism. Throughout this period several works by authors from territories such as Latin America, Western Europe and the USA were translated into the languages of the Eastern European countries; some of them do not seem to fit the criteria of the Socialism realism: this is the case of genres such as science fiction or fantasy. Authors such as Alejo Carpentier, Julio Cortázar, Mario Vargas Llosa, Gabriel García Márquez, the Italian writers Italo Calvino, Dino Buzzati and many others have been translated into languages such as Bulgarian and Russian. Many of them do not deal mainly with social and political themes, and some of them (for instance Dino Buzzati) are even highly critical towards doctrines such as Marxism. However, in the forewords of some of the Bulgarian translations of their works we can find political and social interpretations. Similar interpretations can also be found in science fiction works and in non-literary works, such as books devoted to practices such as Yoga, which in some books is analyzed from a Marxist point of view.
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Fawaz, R. „Super Black: American Pop Culture and Black Superheroes / Do the Gods Wear Capes? Spirituality, Fantasy, and Superheroes / Race in American Science Fiction“. American Literature 85, Nr. 1 (01.01.2013): 199–202. http://dx.doi.org/10.1215/00029831-1959652.
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Nasriddinov, Dilshod Azamkulovich. „SYSTEM OF IM STEM OF IMAGES IN GEORGE R.R. M GES IN GEORGE R.R. MARTIN’S F TIN’S FANTASY WORLD“. Scientific Reports of Bukhara State University 4, Nr. 6 (29.12.2020): 200–206. http://dx.doi.org/10.52297/2181-1466/2020/4/6/11.
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Abstract. The emergence of different genres and trends in literature has led to the creation of various unique works. Thus, creating a novel and accepting it by a reader with positive thoughts demonstrates the skill of the writer. The internal structure of the work plays an important role in it. This scientific article contains scientifically grounded ideas about the genre of the play, its internal structure, a life of author, the secondary world, the system of images in the work and etc. The scientific article is divided into four parts, and we present them on a short explanation. Introduction. There are many genres and trends in world literature and they have led to the birth of rare works. There are so many books that the readers see themselves in another world when they read them. The creation of such works requires a high level of writing skills. In this section, there is expressed opinions about American fantasy and science fiction writer George R.R. Martin and the growing interest of the reader to the novels that he created. Methods. This section presents scientific ideas about the genre of the author's work and the essence of its content
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Walsh, Richard Gregg. „The Hollywood Gospel and its Scholars“. Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, Nr. 1 (05.06.2010): 95–111. http://dx.doi.org/10.1558/post.v4i1.95.
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Stigmata, a 1999 film, dramatizes the recovery of a lost Jesus gospel by placing it within the story of the possession of an atheist beautician, who is also a stigmatic. The discovery of the reason for her possession and her exorcism leads ultimately to the publication of the lost, now found gospel. Stigmata cadges selections from the Gospel of Thomas together to create this gospel, which is a version of the Hollywood gospel hallowing the heroic individual above all things and empowering the fantasy of the subjective, expressive individual. This Hollywood gospel—unlike the Gospel of Thomas—is also scientific (or, at least, empirical and pragmatic), materialist, and democratic. It is, in short, a belated, peculiarly American form of gnosticism. Intriguingly, Stigmata’s drama also sheds some light on scholarship, revealing among other things the cultural embeddedness of scholarship and its interaction with popular fiction, particularly at the points of lost gospels and the notion of heroic individuals struggling against corrupt institutions.
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Boriçi, Florinda. „Three Important Female Voices of the Fin de Siècle American Literature“. Interdisciplinary Journal of Research and Development 9, Nr. 1. S1 (30.03.2022): 1. http://dx.doi.org/10.56345/ijrdv9n1s101.
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The aim of this study is to emphasize the importance of three women writers in the fin de siècle American Literature, specifically Kate Chopin, Edith Wharton and Charlotte Perkins Gilman. Women writers in the 1890s made great use of the short story as a suitable form for the new feminist themes of the decade such as the assertion of female sexuality and fantasy, the development of a woman’s voice and the critique of male aestheticism. Kate Chopin, Edith Wharton and Charlotte Perkins Gilman were prolific and innovative short-story writers experimenting during the decade and beyond with both subject and technique. While Kate Chopin wrote about female sexuality and desire with a frankness rarely seen before, Charlotte Perkins Gilman and Edith Wharton tried to renew the subject and structure of fiction in order to reflect the wider cultural dislocations of the fin de siècle. All three writers felt the constraints of what was considered acceptable by the magazine editors of the late nineteenth century and they tried to find ways and means to work with the restrictions while still remaining in control of their own art.
Received: 10 January 2022 / Accepted: 21 March 2022 / Published: 30 March 2022
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Anistratenko, Antonina V. „SUBGENRES OF THE ALTERNATIVE HISTORY NOVEL: POETICS AND GENEALOGY“. Alfred Nobel University Journal of Philology 2, Nr. 22 (2021): 8–21. http://dx.doi.org/10.32342/2523-4463-2021-2-22-1.
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The article deals with the basic characteristics of the alternative history subgenres, its style, metagenre markers, and common plot characteristics. The meta-genre of alternative history (AH) is presented here as the basic gender formation that derives its own subgenres with similar and different markers. The aim of the article is to determine how the special gender complexes and stylistic markers that form the AH are identified as a subgenres of the alternative history meta-genre in Ukrainian and in American literature dimensions. To present AH subgenre classifications description methods are used; to analyze and divide them for the classification improvement of gender and stylistic elements of AH subgenres the comparative method and the analytical principle were involved. It could be concluded that the AH meta-genre formation itself has been separated into individual sub-genres and varieties over time and has accepted different fable schemes from the other genres, particularly the canonical ones, such as historical novel, fiction novel, detective novel, uchronic and fantasy. Alternative history has become emergency aid for the restoration of a much-needed myth in Europe. Alternative history and histories try to overcome this sacralization and make each European component an alternative one. In American literature, alternative history plays the role of rebuilding national history and making future visions.
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Sharma, Khum Prasad. „Magic Realism as a Postcolonial Discourse in Marquez’s One Hundred Years of Solitude and Rushdie’s Midnight’s Children“. Literary Studies 28, Nr. 01 (01.12.2015): 34–46. http://dx.doi.org/10.3126/litstud.v28i01.39554.
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This study analyzes and explores the concept of magic realism as a mixture of realism and fantasy made in order to serve a particular artistic fusion. The mixture is based on the fact that whatever happens, however extraordinary they may seem, they are ordinary and everyday occurrences. Anything which takes place within the boundaries of magical realism is meant to be accepted as a typical life among the characters in the stories. No matter how far-fetched or extraordinary the subjects may be, all the characters within the works give an allusion of acting naturally and casually. Instead of looking at the world as ordinary and mundane, the magical realists like Marquez and Rushdie bring in a spark of imagination to light the ordinary experiences such a way that they excite the mind of the readers. Magical realism is a fusion of dream and reality, an amalgamation of realism and fantasy, and a form of expression that is based with several fantastical elements, which are nevertheless regarded as normal by both the readers and the characters. This artistic device re-imagines the world and its reality, and presents a different viewpoint on life and the way in which people think and act. Marquez and Rushdie present the worlds where fiction blends with historical reality and in which reality incorporates magic, superstition, myth, religion and history. They use magical elements to create, rewrite and reconstruct broader commentaries on the politics, history and societies in Latin America and India. Marquez and Rushdie employ and establish an alternative reality which juxtaposes fantastical elements with equally mind boggling realities; the truth becomes fantasy and the fantasy becomes truth to disclose historical and political panorama of Latin America and India respectively.
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Harlin, Kate. „"One foot on the other side": Towards a Periodization of West African Spiritual Surrealism“. College Literature 50, Nr. 2-3 (März 2023): 295–322. http://dx.doi.org/10.1353/lit.2023.a902220.
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Abstract: For both writers and scholars of African and diaspora literature, genre is a fraught concept. Western institutions, especially departments of English literature, have used the tool of genre to discipline Africana literatures and the people who create them, at once reducing conventional realism to a source of anthropological information and mischaracterizing realism with an indigenous or Nonwestern worldview as fantasy or "Magical Realism." "West African spiritual surrealism," as defined in this essay, offers a generic rubric that both attends to the literalization of Igbo and Yoruba cosmology in fiction as well as the ways these cosmologies can give rise to literary devices that resist hegemonic, Anglo-American centric literary interpretation. Through close readings of Helen Oyeyemi's The Icarus Girl (2005) and Akwaeke Emezi's Freshwater (2018), this article historicizes West African spiritual surrealism as a geographically and ideologically diasporic genre that cannot be properly understood through frameworks of globalization alone. This genre and its writers require critics to read both deeply and widely in order to understand how West African spiritual surrealism places African cosmologies and people always already at the center of literary production.
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Ue, Tom. „Harry’s Mirror: Desire, fantasy and the Mirror of Erised in Harry Potter and the Philosopher’s Stone“. Book 2.0 13, Nr. 1 (01.07.2023): 89–98. http://dx.doi.org/10.1386/btwo_00084_1.
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The British edition of J. K. Rowling’s Harry Potter and the Philosopher’s Stone () celebrated its 25th anniversary in 2022. The American edition (1998) will follow suit in 2023. The series comprises seven books that follow the conventional seven years of UK secondary schooling between years seven and thirteen (i.e., grades six to twelve in the United States). In this article, I celebrate this first novel by examining Rowling’s commentary on desire. Writers of imaginative fiction have always been interested in this theme. Rowling is no exception. The Sorting Hat, which organizes Hogwarts’ new pupils into the school’s four houses, is a case in point: it recognizes Harry’s potentials were he to follow Voldemort’s footsteps and join the Slytherins, but, ultimately, it respects and prioritizes his desires. ‘Are you sure?’ it asks Harry, in response to his reluctance to be placed there, ‘You could be great, you know, it’s all here in your head, and Slytherin will help you on the way to greatness, no doubt about that – no? Well, if you’re sure – better be GRYFFINDOR!’ ([: 130) The Harry Potter series (1997–2007) follows Harry’s growth, which necessitates curbing his desires so that he does not become another Voldemort. The Mirror of Erised offers, I argue, an especially interesting case study for investigating this theme. My sustained attention on this device and its effects on characters and what they do exposes some of Philosopher’s Stone’s complexities, while enhancing our appreciation for Rowling’s characters and for her project.
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Kulkarni, Prafull D. „Magic Realism in Flowers: Karnad’s Post-Modern World of Folkloric Fantasy“. Shanlax International Journal of English 8, Nr. 3 (02.06.2020): 26–30. http://dx.doi.org/10.34293/english.v8i3.2429.
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“Magic realism” is a recent literary technique that contains a latent amalgamation of fantastic or mythical elements into an otherwise realistically narrated fiction. The theme and subject of such a literary work are often imaginary, somewhat outlandish and fantastic and always reflect into a dream-like reverie. It further marks the miscellaneous use of myths, legends and fairy tales, and an expressionistic description of an arcane situation leading to the element of surprise or abrupt shock. In literary discourses, the term is primarily associated with the post-modern novel of the Americas. Girish Karnad’s dramatic monologue, Flowers, however, bears all the elements of this literary phenomenon. This short play could also be labeled as a dramatized novel and is a simple tale of a priest caught in an agonized conflict between his devotion to God and his love for a courtesan. However, Karnad’s creative genius turns this conflict into a scintillating portrayal of the sexual urge of a priest interspersed with his feelings of religious devotion and familial duties through the technique of magic realism and, in the process, questions god’s authority in the postmodern world. The play is an attempt by Karnad for the first time in his playwriting career “to focus on male than a female desire.” It presents an interesting picture of the bizarre human world full of magic and its realistic social impressions. The present article attempts to shed some light on this aspect of Karnad through the thematic exploration of the flowers.
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Paranyuk, Dan, und Alyona Tychinina. „Simulacra of the hyperreal fantasy world in the novel by clifford simak “out of their minds"“. Current issues of social sciences and history of medicine, Nr. 3 (31) (07.03.2022): 35–39. http://dx.doi.org/10.24061/2411-6181.3.2021.289.
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The article under studies is an intertextual analysis of a minor novel by American science fiction writer Clifford Simak (1904–1988) “Out of Their Minds” (1970), which eclectically combines the elements of a fairy-tale, dreams and phantasmagoric narrative, transgressing into the quasi-real space through the images of Don Quixote and Sancho Panza. The significance of the research has been stipulated by the growing interest of Ukrainian translators and literary critics in the creative activities of C. Simak, as well as by the lack of intertextual analyses of the writer’s classical texts. The objective of the paper is to outline the specifics of modelling a hyperreal fantasy world in the novel by C. Simak “Out of Their Minds” through a number of intertextual simulative forms that carry out “reversal of the imaginary” (the term by Jean Baudrillard) in practice. Methodology: the analysis of C. Simak’s text in the aspect of post-non-classical philosophy and methodology of intertextuality. Conclusions. C. Simak’s text under analysis indicates that fantastic can be combined with mystical, oneiric, phantasmagoric, grotesque and even carnival elements. Their semantic essence is emphasized by the intertextual nature of the personospere samples, devised by the author. The reminiscent origin of a transitive personopair Don Quixote – Sancho Panza is very indicative in the plot of the novel “Out of Their Minds”. C. Simak offers a specific analogy-ideologeme between the character of Horton Smith and Don Quixote-simulacrum, which functions exceptionally in imaginative dimensions of his memory. Such a metagenre aspect of fantasy requires a peculiar palimpsest, filled with numerous interpretants and simulacra of the hyperreal world
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Radaeva, E. A. „EXPRESSIONISM AND THE SCIENCE FICTION GENRE: THE SPECIFICS OF INTERACTION (ON THE EXAMPLE OF THE WORK OF R. HEINLEIN)“. Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, Nr. 85 (2022): 67–72. http://dx.doi.org/10.37313/2413-9645-2022-24-85-67-72.
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In this article, the author aims to prove that the traditions of expressionism are also found among science fiction writers. The work of the American writer of the twentieth century Robert Heinlein was practically never mentioned by anyone in the expressionist paradigm, however, when studying his biography and literary heritage, we find a lot of details that go back to expressionism - this is magical realism, closely related to this direction, to the artistic method of which R. Heinlein resorted to, according to the researchers of his work; passion for solipsism, the doctrine of which can be regarded to a large extent as a manifesto of expressionism, and the very attempts to go beyond the genre of fantasy, with which the name of this writer is firmly linked. In each work of R. Heinlein, the notes of expressionism are present in different ways: either in the subject (pressure of the state machine or society on the individual), the spirit of freedom and the spirit of protest, attention to the problem of death, mysticism, the problem of limited human perception and the illusory nature of the visible world. All of the above once again indicates that, assimilated throughout the subsequent 1920s. culture, expressionist experience is able to manifest itself, no matter how bold it sounds, in the work of almost any writer - to one degree or another, at one stage or another of his path. In addition, in an artist whose works contain elements of expressionism, one can detect the movement of creative searches from realism to expressionism, but neither the way back, nor the reciprocity of these ways of worldview and world-modeling can be found.
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Altynbekov, A. M., Sh Mazhitayeva, F. A. Kakzhanova und D. Veselinov. „Linguistic creativity of occasionalisms in Brandon Sanderson’s works“. Bulletin of the Karaganda university. Philology series 11429, Nr. 2 (24.06.2024): 38–47. http://dx.doi.org/10.31489/2024ph2/38-47.
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This paper investigates the linguistic creativity of authoral occasionalisms of American fantasy writer Brandon Sanderson on the material of his series of works “The Stormlight Archive”. The captivating phenomenon of occasionalisms is examined in the terms of linguistic creativity and measured according to the criteria we have derived. The study focuses on word formation, a linguistic tool that is the creative act of inventing new words. The art of word creation has long been a hallmark of human linguistic ingenuity, allowing us to create new concepts and give them appropriate denotations and connotations. As part of our study, we observe the way Brandon Sanderson, as a linguistic personality, gives semantics to the concepts and terms he has created, and “surrounds” them with pragmatics in the context of sentences and the overall narrative text. We hope to shed light on the understudied synergy between author and language/author and speech, thereby contributing to our understanding of how writers devote to the linguistic innovation, and shape the future of language itself. This research has implications not only for linguistics, but also for the development of understanding the potential of fiction to enrich speech, creative writing, and the evolution of language in our dynamic age.
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Anistratenko, Antonina V. „ALTERNATIVE HISTORY GENRE IN THE FINE LITERATURE. THE ROLE OF EUROPEAN MYTH IN CRYPTOHISTORICAL WRITING“. Alfred Nobel University Journal of Philology 2, Nr. 24 (20.12.2022): 8–16. http://dx.doi.org/10.32342/2523-4463-2022-2-24-1.
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The article is devoted to the Alternative History (AH) genre in fiction and function of the “European Myth” in cryptohistorical writing. The article aims to determine the identity and path of the alternative historical novel in Ukraine and its comparative characteristics at the current stage of modern fiction. The tasks of the study are to determine the ways of European myth functioning in the artistic space of the neomodern AI novel in Ukraine which creates a new genealogical pattern in Ukrainian literary studies. Research methods are subordinate to the aim of the study and tasks. They are comparative, historicalliterary, descriptive, and analytical methods. The metagenre of alternative history has three key aspects, which seem to determine the comparative level of the American and European literature samples within this genealogical formation. These keys are the following: firstly, the story is supposed to completely match the recorded historical and geographical events up until the bifurcation point (in other words, a classic alternative history cannot be based on cryptohistory, hypothesis, fiction, however its background may be folklore or nation mythological heritage or known ancient culture); secondly, the historical figures should play a leading role in the storyline events, especially in the political context; thirdly, the key storyline is expected to relate to the history of a certain human community or civilization on the planet Earth up to the bifurcation point. Apart from the general experience about a different functional role of the time travel method in alternative history novel, we also have a new update, much more distant from the one declared by M. Schneider-Mayerson in 1995, namely, 1889, the year when M. Twain wrote the novel “A Connecticut Yankee in King Arthur’s Court”. However, the novel by M. Twain was criticized due to its monoculturalism in the political worldview. Although all of these details are related to extraliterary factors. If we compare the invariant of American AH, presented for the first time in the novel by M. Twain, we want to talk about cryptohistory in Ukrainian and Western European literature. In his monograph T. Shippey refers to it as a pseudo-history (’Whig history’). It precedes the novelty of this article, which comes to conclusions about common things in the architectonic structure of the European Myth and cryptohistorical writing. That is why we qualify AH as a metagenre, and the political utopia, cryptohistory, allohistory, uchronia, metahistory, political fantasy novels as AH subgenres. One of the most valuable sources of the article is a set of AH novels by M. Twain, P.W.S. Anderson, S. King, V. Baziv, I. Bilyk, M. Brynykh, V. Vladko, V. Danylenko, R. Ivanenko, R. Ivanychuk, M. Kidruk, S. Protsyuk, V. Shevchuk, Ya. Yanovs’kyi, V. Kozhelyanko. To solve the article’s issues we used comparative and descriptive methods. Conclusions. Every metagenre formation itself has separated into individual genres and varieties during the century and accepted different fable schemes of the other genres, in particular canonical ones, such as historical novel, literary, detective novel, chronicle and fantasy. Cryptohistory is a subgenre of alternative history. In its genealogical formula, the actual story exists only theoretically, while the alternative history that forms the plot after the bifurcation point is based on unproven historical sources. It allows more freedom for the author’s imagination, where they may involve two or more bifurcation points. As previously mentioned, the second point of bifurcation would be based on an unreal story that is presented as a true one. Genre markers and plot schemes are identical to alternative history. Though the goal of reconstructing history disappears and is being replaced by other goals: restoration of national and mental mindset elements (V. Kozhelyanko’s “Ethiopian Sich”), humanization of the society (Kir Bulychov “A Reserve for Academics”), psychologization and/or logical construction of the historical course (H. Garrison`s trilogy “West of Eden”, “Winter in Eden”, “Return to Eden”), etc.
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Mehrstam, Christian. „Recomposing Lovecraft: Genre Emulation as Autopoiesis in the First Edition of Call of Cthulhu“. International Journal of Role-Playing, Nr. 12 (05.10.2022): 106–28. http://dx.doi.org/10.33063/ijrp.vi12.293.
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The article examines how genre is emulated in the first edition of Call of Cthulhu (1981 ), analyzing the game's potential to answer social needs during the Reagan era. Genre is understood in the response aesthetic sense, as collections of traits sedimented from authors' and designers' attempts to meet their audiences. Similar to how software can be engineered to replace older hardware, Call of Cthulhu replaces the genre functions underpinning Lovecraftian stories. Previous research discusses Call of Cthulhu as a horror RPG, mostly referencing later editions. This article's analysis, based on systems theory, deals with the first edition and a more complex genre composition. Emulation is described as autopoiesis-a generative mechanism of simultaneous autonomy and dependency vis-a-vis an environment. The role-playing system selects genre elements through structural couplings to its surroundings, and then recombines them in a new way, giving them new affordances.
The result shows the ways in which the first edition of Call of Cthulhu fuses elements from the fantasy role-playing genre with elements from literary horror, detective story, pulp fiction and colonial mystery. The three most prominent characteristics of the game-the characters' mental health, the manner in which they confront Mythos representatives, and their expeditions to remote locations-are solutions to genre tensions, rather than properties of horror. Following the sociohistorical framing of the elements involved, the composite emulation allowed for the processing of perceived threats to the American way oflife during the early Reagan Era. The game offered a colonial fantasy, where real but more diffuse menaces, such as the nuclear arms race of the Cold War or the Iranian Revolution and ensuing energy crisis, could be fictionalized and reconsidered from the perspective of a predominantly white Christian struggle against evil in a 1920s world.
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Parille, Ken, Kenneth Kidd, Jay Mechling, Victoria Cann und Edward W. Morris. „Editorial Board Reflections on Formative Books and Other Media“. Boyhood Studies 15, Nr. 1-2 (01.12.2022): 183–202. http://dx.doi.org/10.3167/bhs.2022.15010212.
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Reading Characters, People, and PropertiesIn this piece, I reflect on superhero comic books I read in my childhood and adolescence, noting that as I collected and read stories featuring the character known as the Silver Surfer, I slowly began to realize that the character’s traits, as established in the first comic in which he appeared, seemed to change in comics published later. In searching for explanations for these changes, I began to pay attention to a comic’s credits, recognizing that different writers and artists understood the character in different ways and often felt no obligation to maintain a consistent approach. I eventually realized that a comic’s credits sometimes misrepresented the labor invested by each of the story’s creators. This long process led to an ongoing interest—in both my writing and teaching—in the ways that our interpretation of a story and its characters can be enriched by understanding the conditions under which it was produced.Books of the HeartWhat might reflecting on favorite books from our childhood tell us about our past and current selves? This short meditation on that question first considers reading memoirs and experiments in rereading, and then reviews some favorite books from the author’s own childhood, speculating on their appeal and potential significance for identity consolidation.The Fantasy of the Boy Scout HandbookBorn and raised in Miami Beach, Florida, I opened my new Boy Scouts of America Handbook for Boys in the summer of 1956, at age 11, in anticipation of moving from the Cub Scouts to the Boy Scouts that fall. I found in those pages a fantasy that moved me deeply, a romantic fantasy of hiking and camping in the wilderness with a band of boy buddies. That fantasy has deep roots in fiction for boys and in books like the Handbook, appealing to the boy’s desire to escape the surveillance and control of adults and to fashion a community of “lost boys” in a wilderness setting ideal for strong male bonding in friendship.“I Never Had Any Friends Later on Like the Ones I Had When I Was Twelve. Jesus, Does Anyone?”: Reflections on Learning about Boyhood through Stand by MeThis piece offers reflections on the 1986 movie Stand by Me, drawing on some of the main themes and contextualizing them in relation to my own childhood as a girl growing up in the 1990s. I reflect on how in my rewatch of the movie, I was struck by the ways that the class positions of the boys echoed my own experiences of transition and liberation through education. I also reflect on the significance of seeing boys cry and be scared—feelings that the boys at my school were policed out of performing in public.Boy Genius: Reflections on Reading The Great BrainBased on reflection and analysis of a formative childhood text, this essay disentangles the relationship between reading, intelligence, and masculinity. The author argues that although reading fiction appears to encourage empathy, books written specifically for boys may contain detrimental messages about masculinity. The analysis reveals that the popular Great Brain series reinforces notions of whiteness, ableism, and masculine superiority. These messages are reinforced by the books’ emphasis on pragmatic “genius” and the savior trope in boyhood.