Zeitschriftenartikel zum Thema „Frankenstein (fictional character) – fiction“
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Shen, Fanxi. „Freud’s Psychoanalysis Perspective on the Characteristics of the Monster in Frankenstein“. IRA International Journal of Education and Multidisciplinary Studies 20, Nr. 1 (13.03.2024): 36. http://dx.doi.org/10.21013/jems.v20.n1.p3.
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The famous English writer Mary Shelley wrote <em>Frankenstein</em> in 1818, which is regarded as the world’s first science fiction novel, and thus Mary Shelley was awarded the title of Mother of Science Fiction. With a gothic plot, this novel contains the philosophy of technology, psychology and epistemology, expressing the author’s exploration of human nature. The psychological and action descriptions of the characters in this novel, to a certain extent, show the psychological characteristics of the character’s id, ego and superego. Therefore, this paper will elaborate the psychological characteristics of the characters from the aspects of id, ego and superego from Freud’s psychoanalysis theory, thus exploring the character traits of the novel and providing a new perspective for the interpretation of the novel.
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Ensslin, Astrid. „The Interlocutor in Print and Digital Fiction: Dialogicity, Agency, (De-)Conventionalization“. Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 6, Nr. 3 (10.08.2018): 21–34. http://dx.doi.org/10.14195/2182-8830_6-3_2.
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Digital fiction typically puts the reader/player in a cybernetic dialogue with various narrative functions, such as characters, narrative voices, or prompts emanating from the storytelling environment. Readers enact their responses either verbally, through typed keyboard input, or haptically, through various types of physical interactions with the interface (mouseclick; controller moves; touch). The sense of agency evoked through these dialogic interactions has been fully conventionalized as part of digital narrativity. Yet there are instances of enacted dialogicity in digital fiction that merit more in-depth investigation under the broad labels of anti-mimeticism and intrinsic unnaturalness (Richardson, 2016), such as when readers enact pre-scripted narratees without, however, being able to take agency over the (canonical) narrative as a whole (Dave Morris’s Frankenstein), or when they hear or read a “protean,” “disembodied questioning voice” (Richardson, 2006: 79) that oscillates between system feedback, interior character monologue and supernatural interaction (Dreaming Methods’ WALLPAPER). I shall examine various intrinsically unnatural examples of the media-specific interlocutor in print and digital fiction and evaluate the extent to which unconventional interlocutors in digital fiction may have anti-mimetic, or defamiliarizing effects.
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Pikun, Lesia. „The Frank Einstein Books by Jon Scieszka as a Variant of the Literary Game with Cultural Heritage“. Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 14, Nr. 25 (2021): 79–86. http://dx.doi.org/10.34079/2226-3055-2021-14-25-79-86.
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The article is dedicated to the study of the literary mirror game with the cultural heritage in the Frank Einstein books by Jon Scieszka. The Frank Einstein books were first translated and published in Ukraine in 2019. This article is the first investigation of the Frank Einstein series by J. Scieszka as a literary game. Six Frank Einstein books (“Frank Einstein and the Antimatter Motor” (2014), “Frank Einstein and the Electro-Finger” (2015), ‘Frank Einstein and the BrainTurbo” (2015), “Frank Einstein and the EvoBlaster Belt” (2016), “Frank Einstein and the Bio-Action Gizmo” (2017) and “Frank Einstein and the Space-Time Zipper” (2019)) demonstrate vivid examples of the literary game in the contemporary children’s literature from the positions of the author as a game creator and the reader as a game opponent. J. Scieszka was born in 1954 in Flint, Michigan, USA. The future writer received a varied education. He attended the military academy, then studied English and pre-med at Albion College for his B.A., and in 1980 received a master's degree of Fine Arts in fiction writing at Columbia University. After graduation J. Scieszka worked as a teacher at an elementary school. Teaching schoolchildren, Jon re-discovered how smart they are. School children turned to be the best audience for the weird and funny stories he had always liked to read and write. The books by Jon Scieszka are based on recognizable archetypal plots and iconic characters, which are not presented to the reader in a conserved form, but focused on the current stage of culture and science development. The writer cheerfully and humorously manipulates well-known plots, rewrites established ideas, and interprets familiar literary themes, motives, characters, etc., presented in world-famous science fiction, well-known to the modern young reader. J. Scieszka says that he got his ideas from other books, his kids, kids he had taught, kids he had learned from, watching movies, playing with his cat, talking to his wife. He also includes allusions to his favourite writers – Cervantes, Kafka, Borges, Pynchon, Sterne, Barth, Heller (Scieszka, 2014). J. Scieszka uses a repertoire of prominent scientific and literary samples in his work, such as the character of the scientist Frankenstein by M. Shelley and the theoretical physicist Albert Einstein, the inventor and businessman Thomas Edison, a fictional character Dr. Watson in the Sherlock Holmes stories by Sir Arthur Conan Doyle, the primatologist Jane Goodall. There is a mechanism of mirror doubling in the system of characters: Frankenstein and Frank Einstein, Albert Einstein and Al. Einstein, Klink and Klank, and the complex mirror refraction of Frank Einstein and Watson as Sherlock Holmes and Dr. Watson, Frank Einstein and T. Edison as Sherlock Holmes and Professor Moriarty. The article analyses the well-known literary and scientific achievements that acquire a mirror replay in the books about Frank Einstein. The researcher concludes that the books by J. Sciezska are a source of vivid emotional experiences and motivation for serious readers’ reflection. The author of the article draws attention to the fact that the play field created by J. Scieszka is a product of accumulated cultural content, which activates the human tendency to imitate, assimilate and repeat. This game is a form of conscious assimilation and processing of the universe of intangible and material artifacts, objectified actions and relations created by mankind in the process of mastering nature.
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Opreanu, Lucia. „Word Havens: Reading One’s Way out of Trauma in Contemporary Fiction“. University of Bucharest Review. Literary and Cultural Studies Series 9, Nr. 2 (19.11.2020): 93–102. http://dx.doi.org/10.31178/ubr.9.2.10.
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Prompted by the attention received in recent years by the collateral benefits of reading and the growing prominence of bibliotherapy in the literary marketplace, this paper aims to investigate the therapeutic effects of books as they emerge from the experience of fictional characters, a perhaps less scientifically sound endeavour than empirical studies and clinical trials targeting real-life readers but one likely to occasion interesting perspectives on reading as a coping mechanism in the face of trauma. By focusing on a variety of reading experiences gleaned from a selection of novels ranging from Mary Shelley’s Frankenstein to William Styron’s Sophie’s Choice, Graham Swift’s Waterland, Michael Ondaatje’s The English Patient, Azar Nafisi’s Reading Lolita in Tehran: A Memoir in Books, Markus Zusak’s The Book Thief, Lloyd Jones’ Mister Pip and Mary Ann Shaffer and Annie Barrows’ The Guernsey Literary and Potato Peel Pie Society and targeting acts of solitary communion with narrative as well as illicit seminars, informal book clubs and impromptu public readings, the analysis intends to highlight the extent to which literature can provide more than a mere pastime or intellectual challenge to its most vulnerable readers. Whether such benefits entail a sense of community, a temporary shelter from the hardships of war, a reprieve from the abuses of a totalitarian government or sanctuary from the less brutal but nevertheless haunting scars of broken relationships, parental disapproval or social rejection, the ultimate goal is to identify and assess the various survival strategies employed within these fictional universes. The
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Akhmedov, Rafael Sh. „The concept of “robotics” in Isaac Asimov’s science fiction: clash of traditions and innovations“. Philological Sciences. Scientific Essays of Higher Education, Nr. 4 (Juli 2022): 114–23. http://dx.doi.org/10.20339/phs.4-22.114.
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The image of a mechanical (artificial) creature constructed thanks to the achievements of mankind in the field of science and technology has been present in literature since its inception, since the first oral myths and legends. Only towards the end of the 19th — beginning of the 20th century, the emphasis in the image of the robot in the literature shifted from religious-mystical to philosophic-technical. The purpose of this study is to assess the legitimacy of the statement that the work of the American science fiction writer Isaac Asimov was a turning point in the development of the image of a robot in world literature. For this purpose, the following research was done: a comparative historical overview of the development of the image of a robot in literary works; the analysis of the scientific literature on the issue; a thorough analysis of several key works of Isaac Asimov (particularly, stories from the “I, Robot” collection), in which the robot character plays a central role and participates in the formation of the main idea of the work revealing the theme and the construction of the plot. Being a supporter of the idea of the humanistic role of science fiction, Isaac Asimov abandoned the established tradition of a monster robot, endowed it with Three Laws so that humanity could overcome the Frankenstein complex and look at the achievements of technology from a new perspective. This new approach of Isaac Asimov to the robot character and to the question of the relationship between human being and technology, which initially caused a negative response from literary critics, subsequently became one of the components of the reform of American science fiction and the advent of the Golden Age of science fiction. The concept of “robotics” of Isaac Asimov became the cornerstone of not only modern science fiction but also other branches of human activity, including information technology and robotics industry.
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Saddik, Annette J. „Exploring the Line between Creation and Creator in Mabou Mines’s Glass Guignol: The Brother and Sister Play“. Journal of Contemporary Drama in English 11, Nr. 2 (01.11.2023): 298–307. http://dx.doi.org/10.1515/jcde-2023-0024.
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Abstract During the last ten years of his life, Lee Breuer, who passed away in 2021, had been interested in framing Tennessee Williams’s canon, particularly the late plays, through the perspective of the grotesque and the Grand Guignol. Mabou Mines’s Glass Guignol: The Brother and Sister Play (2017), directed by Breuer and conceived by Breuer and Maude Mitchell, views Williams’s work alongside Mary Shelley’s Frankenstein (1818) in order to expose the grotesque truth of the messy and complex creative process. On one level, Glass Guignol is a multilayered exploration of the relationship between Williams and his sister Rose, whose story of courage in facing the mental and emotional challenges that culminated in an eventual lobotomy in 1943 was the inspiration for several of the female characters in both his canonical early plays and his less familiar later works. Developed through various workshops and staged scenes since 2011, the finalized version of Glass Guignol interweaves the story of Rose herself with Williams’s various fictional creations of women who reflect her spirit, if not necessarily her actual experiences: Laura in The Glass Menagerie (1945), Catherine in Suddenly Last Summer (1958), Clare in The Two-Character Play (revised between 1967 and 1976), and Nance in A Cavalier for Milady (c. 1976). While a symbiotic brother-sister love is at the center of The Two-Character Play, which serves as the primary framework of Breuer’s piece, it was also a common preoccupation for Romantic poets. Glass Guignol uses this relationship to delve into broader territory, asking questions about the relationship between creator and creation, and taking Frankenstein as yet another framework for the complexities and contradictions of this partnership. With its nineteenth-century asylum staging, the play foregrounds the grotesque and the Grand Guignol, both sensibilities that embrace contradiction, instability, and a lack of boundaries. Ultimately, Breuer explores how the artist sews together bits and pieces of identity, emotion, and experience in the pursuit of that seamless and perfect illusion of reality.
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Al-Shamali, Farah. „The City of Baghdad in Iraqi Fiction: Novelistic Depictions of a Spatiality of Ruin“. Middle East Research Journal of Linguistics and Literature 3, Nr. 02 (09.12.2023): 12–24. http://dx.doi.org/10.36348/merjll.2023.v03i02.002.
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The Iraqi novel has contended with brutish forms of violence for the better part of the past century that have essentially reshaped the narrative experience unto space. Writers are confronted with the challenge of typifying a search for meaning in and amongst character-altering ruin. At the height of its maturity today, as various works convey spatial woundedness particularly in the city of Baghdad, there is a relationship between fiction and urban reality symbolizing an image of complexity. They play host to a fantastical blending of the real and unreal. They see through to the mediational potencies of absurdist violence, one that is acted out this performativity on the page a matter of survival. The selected works respectively depict the pre-revolutionary capital before moving into the bitter decades to follow. Many build worlds that are mired in the crippling present day engaging the normativity of the spatial wound to make sense of the nonsensical. The novels Hunters in a Narrow Street, The Corpse Washer, Frankenstein in Baghdad and Tashari and short story “The Corpse Exhibition” work towards that end. They critically ponder decrepitude and death as it joins life in the realm of the real, legitimate ruination of place as aesthetic in the liminal imaginary and create the conditions with which to imagine the spatial afterlife of destruction. The extracted articulations and thoughts around each are informed by the critical theoretical lenses of three landmark thinkers of space and place and how the latter equates to the emotionality of man. Keywords: Baghdad, Space and place, Literature, Fiction, Wounded identity, War, Ruination, Dystopia.
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Romanyshyn, Robert D. „Diagnostic Fictions“. Journal of Humanistic Psychology 59, Nr. 1 (26.07.2018): 107–20. http://dx.doi.org/10.1177/0022167818790300.
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Beginning with a case in Part 1 of this article, I illustrate a key difference between the person who comes to therapy and the figure(s) who come for therapy. In Part 2, I describe some features of a literary approach that attend to this difference and animate diagnostic descriptions with images and stories found in literature. Using Mary Shelley’s Frankenstein and drawing on my rereading of her tale, I demonstrate in Part 3 how the character of Victor Frankenstein and his story vividly personify and enrich the DSM category of narcissistic personality disorder. This approach does not reduce Victor Frankenstein and his story to the diagnosis; it magnifies the diagnostic category through the lens of his image and his story.
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Milerius, Nerijus. „UTOPIJOS IR ANTIUTOPIJOS VIZIJOS KINE. FILOSOFINĖS BANALAUS ŽANRO PRIELAIDOS“. Problemos 79 (01.01.2011): 81–89. http://dx.doi.org/10.15388/problemos.2011.0.1325.
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Straipsnyje tęsiami apokalipsės kino tyrinėjimai, pirmą kartą pristatyti praėjusiame „Problemų“ tome (78). Siekiant detalizuoti apokalipsės kino analizę, pasitelkiami nauji – utopijos ir antiutopijos – kinematografiniai aspektai. Apžvelgiamos utopinio diskurso mitologinės ir religinės prielaidos, parodoma, kaip utopinis diskursas išreiškiamas Platono idealios visuomenės projekte. Thomas More’o „Utopija“ apibrėžiama kaip jungiamoji grandis tarp klasikinių filosofinių ir religinių utopinių vizijų ir vėlesnių mokslinių technologinių pasaulio perkonstravimo modelių. Technologinis pasaulio perkonstravimas kaip moderniųjų utopijų pagrindas neišvengiamai susijęs su nekontroliuojamo pasaulio antiutopinėmis vizijomis. Mary Shelley „Frankenšteinas“ apibūdinamas kaip dažnas utopinių modelių fonas. Kaip utopinių ir antiutopinių motyvų sampynos kine pavyzdys analizuojamas Steveno Spielbergo „Dirbtinis intelektas“. Įrodoma, jog postapokaliptinė šio kino kūrinio aplinka konstruojama tam, kad būtų išryškintas pačios kasdienybės utopiškumas.Pagrindiniai žodžiai: kino filosofija, apokalipsės kinas, mokslinė fantastika, utopija, antiutopija.Visions of Utopia and Dystopia in Cinema. The Philosophical Presuppositions of the Banal GenreNerijus Milerius SummaryThe article continues researching the apocalypse film genre. The first results of such research were presented for the first time in the last volume of “Problemos”. In this article, aspects of utopia and dystopia are introduced into the analysis. Firstly, the mythological and religious presuppositions of utopian discourse are overviewed. Secondly, it is shown how utopian discourse is manifested in Plato’s project of ideal society. “Utopia” of Thomas More is considered as the medium between classical visions of utopia and subsequent models of technological transformation of the world.The technological transformation of the world is such basis of modern utopias, which is inevitably tied with the dystopian visions of uncontrollable reality. M. Shelley’s “Frankenstein” appears to be frequent background of utopian models. As the example of interconnection of utopian and dystopian motifs, S. Spielberg’s “The Artificial Intelligence” is presented. It is argued that the post-apocalyptic milieu of this film is constructed with the purpose of revealing the utopian character of the everyday itself.Keywords: film philosophy, apocalypse movie, science fiction, utopia, dystopia.
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Varis, Essi. „The Monster Analogy: Why Fictional Characters are Frankenstein's Monsters“. SubStance 48, Nr. 1 (2019): 63–86. http://dx.doi.org/10.1353/sub.2019.0005.
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Brinkerhoff, Anna. „Resolving the Paradox of Fiction“. Stance: an international undergraduate philosophy journal 7, Nr. 1 (11.09.2019): 41–50. http://dx.doi.org/10.33043/s.7.1.41-50.
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In this paper, I examine the Paradox of Fiction: (1) in order for us to have genuine and rational emotional responses to a character or situation, we must believe that the character or situation is not purely fictional, (2) we believe that fictional characters and situations are purely fictional, and (3) we have genuine and rational emotional responses to fictional characters and situations. After defending (1) and (2) against formidable objections and considering the plausibility of ~(3) in isolation of (1) and (2), I conclude that we should resolve the Paradox of Fiction by rejecting (3).
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Marotta, Melanie A. „The science fiction horror: Alien, George R. R. Martin's Nightflyers and the surveillance of women“. Northern Lights: Film & Media Studies Yearbook 17, Nr. 1 (01.11.2019): 57–70. http://dx.doi.org/10.1386/nl_00005_1.
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Abstract The subgenre of the science fiction horror has a lengthy history, one that is purported to begin with Mary Shelley's novel, Frankenstein (1818). In Shelley's novel, the body is a space in which a man enacts his ambitions. Significantly, the female voice that was so prominent in the novel disappears in later adaptations including Danny Boyle's National Theatre production examined here. In the science fiction horror film of the later twentieth century, the monstrosity appears famously in what is now a franchise. Ridley Scott directs Alien (1979), a renowned haunted ship mystery (territory of the horrific). When she is not defending herself from attacks, Ripley must contend with her objectification by Ash, the corporation's representative and by the rest of the crew. A new addition to the science fiction horror subgenre is Syfy channel's adaptation of George R. R. Martin's Nightflyers. Unbeknownst to the crew of the Nightflyer, the former captain of the ship, Cynthia, has had her consciousness transferred to the ship and she is watching everyone. Like Ripley, the Nightflyer's female characters ‐ Agatha, Melantha and Cynthia ‐ are subjected to others' fear of the unknown, namely the changing roles for women and how that will impact their societal construction. Here, I will examine the body on display. This essay is primarily interested in the female characters and whether or not they are empowered or violated by the act of looking or violated.
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Rowland, Antony. „Fiction as Testimony“. Literature & History 33, Nr. 1 (Mai 2024): 37–52. http://dx.doi.org/10.1177/03061973241245758.
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This article explores the fraught relationship between the terms ‘fiction’, ‘creativity’, ‘literature’ and ‘testimony’ in Holocaust and trauma studies. It argues that the main challenge in reading witness literature is to read testimony as both factual and potentially fictional at the same time when no metatextual corroboration is available. This anxiety of testimony originates in some key texts in Holocaust and trauma studies: I analyse for the first time the repercussions of fictional passages in Primo Levi's If This is a Man (1947), The Truce (1963) and Charlotte Delbo's Auschwitz and After (1985). These sections in no way attenuate the veracity of the overall narratives of survival. Rather than presenting the fictional as fact in bad faith, these books demonstrate the importance of creativity in responding to historical events, particularly when there are no existing historical narratives to present an alternative view. They also emphasise the current critical dichotomy in Holocaust and trauma studies between what Sara Guyer terms the ‘non-representational character’ of literature from ‘the representational character of testimony’. If we attempt to think beyond this binary between fictional literature and books about witnessing, it is possible to reflect on how fiction itself can operate as a form of testimony.
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Manney, PJ. „Yucky gets yummy: how speculative fiction creates society“. Teknokultura. Revista de Cultura Digital y Movimientos Sociales 16, Nr. 2 (09.10.2019): 243–54. http://dx.doi.org/10.5209/tekn.64857.
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Human biology creates empathy through storytelling and emulation. Throughout history, humans have honed their capacity to understand optimum storytelling and relate to others in new ways. The bioethical concepts of Leon Kass’s Wisdom of Repugnance and Arthur Caplan’s Yuck Factor attempt to describe, and in Kass’s case even support, society’s abhorrence of that which is strange, against God or nature, or simply the “other.” However, speculative fiction has been assessing the “other” for as long as we’ve told speculative stories. The last thousand years of social liberalization and technological progress in Western civilization can be linked to these stories through feedback loops of storytelling, technological inspiration and acceptance, and social change by growing the audience’s empathy for these speculative characters. Selecting highlights of speculative fiction as far back as the Bible and as recently as the latest movie blockbusters, society has grappled back and forth on whether monsters, superhumans, aliens, and the “other” are considered villainous, frightening and yucky, or heroic, aspirational and yummy. The larger historical arc of speculative fiction, technological acceptance and history demonstrates the clear shift from yucky to yummy. Works include The Bible, Talmud, stories of alchemists and the Brazen Head, Paradise Lost, Frankenstein, Dr. Jekyll and Mr. Hyde, The Wonderful Wizard of Oz, gothic horror films of Germany and the U.S., Superman and the Golden Age of comics, and recent blockbusters, among others.
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Beenstock, Zoe. „Palestine as Europe’s Future: Antiquity as Contemporaneity in Volney’s Travels , Considerations , and The Ruins“. Studies in Romanticism 62, Nr. 2 (Juni 2023): 269–82. http://dx.doi.org/10.1353/srm.2023.a903036.
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Abstract: European Romanticism often represents Palestine in ageographical terms. Through an analysis of Volney’s writings on the East, this article traces Palestinian ageography to religiously-inflected discourses that identify Palestine as Europe’s future. Volney juxtaposes antiquarianism, realist travelogue, and science fictional literary modes to represent Palestine’s multiple spiritual pasts, its contemporaneity with Europe, and its prophetic anticipation of revolution. His account of Palestine shapes Romanticism and Mary Shelley’s Frankenstein as arguably the first science fiction novel, demonstrating the importance of religious discourses for Romantic European engagements with Palestine.
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Vaage, Margrethe Bruun. „On Punishment and Why We Enjoy It in Fiction“. Poetics Today 40, Nr. 3 (01.09.2019): 543–57. http://dx.doi.org/10.1215/03335372-7558136.
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The article proposes an explanation for why spectators may enjoy excessive punishment when watching fiction, even in Scandinavia where harsh punishment is roundly condemned. Excessive punishment is typically carried out by a vigilante avenger, and in fiction this character is often a fantastic character (e.g., not realistic, taking on superhuman and/or supernatural characteristics). We allow ourselves to enjoy punishment more readily when the character who punishes is clearly fictional. In The Girl with the Dragon Tattoo and Let the Right One In, fantastic elements seep into an otherwise realistic setting and allow the spectator to fully enjoy the main characters’ vigilante revenge. The theory of fictional reliefs posited here holds that this mixture of modes facilitates one of two paths to moral judgment.
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Vázquez- Espinosa, Emma, Claudio Laganà und Fernando Vazquez. „The Spanish flu and the fiction literature“. Revista Española de Quimioterapia 33, Nr. 5 (07.07.2020): 296–312. http://dx.doi.org/10.37201/req/049.2020.
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This review focuses on the fictional literature in which the Spanish flu is represented either as an anecdotal or as a historical aspect and the effect on the author or fictional character. We examine this sociocultural period in the press and mainly in Anglo-Saxon literary works and from other countries, including Spanish and Latin American literature that is not very represented in some international reviews on the subject. Also, we include books about the previous and subsequent influenza pandemics to the Spanish flu.
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Koval, Oxana A., und Ekaterina B. Kriukova. „Ludwig Wittgenstein as a Fictional Character. Part II“. Voprosy Filosofii, Nr. 2 (2022): 169–79. http://dx.doi.org/10.21146/0042-8744-2022-2-169-179.
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The second article continues to acquaint with the image of Wittgenstein, as he appears on the pages of fiction. The key thesis of the study, according to which the imaginary strategy of world literature provides new meaning to the strictly rational understanding of Wittgenstein’s works and personality, is confirmed on the basis of the works of various authors. Perspectives in which writers discover Wittgenstein’s innovative ideas turn out to be interesting and very unusual. In particular, Percival Everett plays in the ironic style on the content and structure of “Tractatus Logico-Philosophicus” and extends its linguistic concept directly to the field of literature itself. Enrique Vila-Matas, who studies the phenomenon of silence in literature, reveals an ethical paradox between Wittgenstein’s theory and practice. In the novel of Ciaran Carson and in the texts of Thomas Bernhard, the philosopher’s behavior and eccentric features of his character, which contributed to the formation of the legendary cult around his person, receive an original explanation. Thus, fiction creates a many-sided portrait of a philosopher, in which his thought is a continuation of his outstanding personality.
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Howell, Yvonne. „Eugenics, Rejuvenation, and Bulgakov's Journey into the Heart of Dogness“. Slavic Review 65, Nr. 3 (2006): 544–62. http://dx.doi.org/10.2307/4148663.
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This new reading of Mikhail Bulgakov's Heart of a Dog challenges the two lines of thought that dominate existing interpretations. Cold Warinspired critics saw in the banned novella an anti-Soviet political allegory and ignored its astute treatment of Soviet debates on biosocial issues. Most other critics have cast Preobrazhenskii as a mad scientist in the Frankenstein tradition, unleashing forces he himself cannot control. Putting aside false antitheses, Bulgakov's novella emerges as a fictional exploration of ideas in eugenics, hormone replacement therapy, and the nature-nurture debate that had real urgency for early Soviet geneticists struggling for ideological support, and for Bolshevik policymakers trying to create a “New Soviet Man.” In this article, Yvonne Howell describes the competing scientific paradigms that provide a backdrop to Bulgakov's work and shows how attitudes from across the “nature-nurture” spectrum appear and interact in Heart of a Dog through the voices of its principal characters.
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Goodwin, Anne. „The representation of clinical psychologists in contemporary literary fiction“. Clinical Psychology Forum 1, Nr. 291 (März 2017): 47–51. http://dx.doi.org/10.53841/bpscpf.2017.1.291.47.
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A survey of 11 novels featuring a character identified as a clinical psychologist, suggests that fictional psychologists are largely indistinguishable from other psy-professionals and are often unboundaried in their practice.
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M. Adel, Abdel-Fattah. „Fictional Characters Outside Fiction: “Being” as a Fictional Character in Heidegger’s Being and Time“. Arab World English Journal For Translation and Literary Studies 1, Nr. 2 (15.05.2017): 163–75. http://dx.doi.org/10.24093/awejtls/vol1no2.13.
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Yusrina, Riris. „An Analysis of Popular Fiction Movie: Feminism in Movie Miss Peregrine’s Home for Peculiar Children (2016)“. Rubikon : Journal of Transnational American Studies 9, Nr. 2 (01.11.2022): 142. http://dx.doi.org/10.22146/rubikon.v6i2.73536.
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Film is one of American popular culture that attracts many people around the world. America has many movie genres, one of which is a fictional film genre. Fiction works do have very unique characters, from the storyline to the characters in the fictional film. In addition, in the modern era, feminism has been applied in everyday life, starting from education, politics, etc. This article analyzed the feminism of the character of Miss Peregrine in the American fiction film titled Miss Peregrine's Home for Peculiar Children (2016) by using semiotic theory. The results show that several scenes in the film represent feminism through Miss Peregrine's character, those are as a hero and as a leader. In addition, there is ecofeminism in the film.
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Jadhav, Harshada. „A Research Study on How AI Creates Fiction Stories“. International Journal for Research in Applied Science and Engineering Technology 12, Nr. 4 (30.04.2024): 1066–73. http://dx.doi.org/10.22214/ijraset.2024.59952.
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Abstract: This paper includes the study of complex process by which artificial intelligence systems create fictional stories. In this process we cover the five processes such as The pre -processing steps for using AI to create a fictional story, Plot structure and plot production process for creating fictional stories using artificial intelligence, Character growth in the process of creating a virtual story using artificial intelligence, Generating dialogue in the process of creating a virtual story using artificial intelligence, and Using AI to revisit and iterate the process of creating fictional stories. Using state-of-the-art artificial intelligence models, especially those based on deep learning architectures such as recurrent neural networks (RNNs) and transformer models such as generative pre- trained transformers (GPTs), we analyse how these systems understand and manipulate language to create consistent fictional pieces. This paper This Make up story through empirical experiments and qualitative analysis, we carefully study the impact of different parameters, including Algorithm, Education, Fine-tuning Hint, Generation, and Evaluation methods, on the quality and diversity of the generated stories. The study also explores the role of artificial intelligence as well as human collaboration in the fiction stories writing and creative process. It discuss the Future Directions of AI’S role in creating fiction stories.
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Lapointe, Julien. „Re-identifying Characters across Films and Fiction“. Projections 17, Nr. 3 (01.12.2023): 25–42. http://dx.doi.org/10.3167/proj.2023.170302.
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Abstract The current article outlines a theory for character re-identification across films and fictional works: that is, by which interpretive operations does a viewer, spotting a character in film-y, understands that it is the same character identified on the occasion of a prior film-x? While this seems to be a mundane activity, consideration of multiple examples discloses that such acts mobilize sophisticated and abstract concepts and inferences, requiring theoretical insight. Such insight comes by way of Julius Moravcsik's application of Aristotelian concepts to lexical theory. The alignment of the latter—lexical theory—to film interpretation raises deeper questions as to the link of cognition to language, whose implications for future film scholarship are acknowledged in the conclusion.
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Abraham, Anna, D. Yves von Cramon und Ricarda I. Schubotz. „Meeting George Bush versus Meeting Cinderella: The Neural Response When Telling Apart What is Real from What is Fictional in the Context of Our Reality“. Journal of Cognitive Neuroscience 20, Nr. 6 (Juni 2008): 965–76. http://dx.doi.org/10.1162/jocn.2008.20059.
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A considerable part of our lives is spent engaging in the entertaining worlds of fiction that are accessible through media such as books and television. Little is known, however, about how we are able to readily understand that fictional events are distinct from those occurring within our real world. The present functional imaging study explored the brain correlates underlying such abilities by having participants make judgments about the possibility of different scenarios involving either real or fictional characters being true, given the reality of our world. The processing of real and fictional scenarios activated a common set of regions including medial-temporal lobe structures. When the scenarios involved real people, brain regions associated with episodic memory retrieval and self-referential thinking, the anterior prefrontal cortex and the precuneus/posterior cingulate, were more active. In contrast, areas along the left lateral inferior frontal gyrus, associated with semantic memory retrieval, were implicated for scenarios with fictional characters. This implies that there is a fine distinction in the manner in which conceptual information concerning real persons in contrast to fictional characters is represented. In general terms, the findings suggest that fiction relative to reality tends to be represented in more factual terms, whereas our representations of reality relative to fiction are colored by personal subjectivity. What modulates our understanding of the relative difference between reality and fiction seems to be whether such character-type information is coded in self-relevant terms or not.
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Pitronová, Eva. „I blodhager, dansehus og søvnsletter. Ellen Einans fiksjonsdannelse“. Studia Universitatis Babeș-Bolyai Philologia 68, Nr. 2 (25.06.2023): 155–74. http://dx.doi.org/10.24193/subbphilo.2023.2.09.
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"In Blood Gardens, Dance Halls and Sleep Plains. Ellen Einan's Creation of Fiction. Ellen Einan (1931–2013) is a Norwegian poet known for her frequent use of innovative language that forms fixed expressions, codes or references to both religious and mythical rituals and symbols. She builds her imagery on folk beliefs, Eastern religions and old ancient myths and she weaves all this together into a fantastic poetic universe with its own mythology. In the present paper, I examine the possibility of reading her poems as an expression of the creation of fiction in lyric poetry. I consider the creation of fiction to be an extension of the creation of images (connected to the term “the imaginary”), where we acquire images and their interconnections with a fiction-constitutive power. In this view, Einan not only constructs images (or symbols), but also a new, fictional existence in her poems. My approach to Einan's work is closely linked to the fictional world theory and its use within the discourse of lyric poetry, as it is presented in the theoretical work of Miroslav Červenka. He assumes that the lyrical subject is at the centre of the fictional world of the poem and assigns a character-like position to it. Furthermore, I read Einan's complete oeuvre as an interconnected universe, as the thematic criticism proposes, and focus on how the recurring motifs and themes can enable us to identify Einan's fictional world. Keywords: Ellen Einan, Norwegian poetry of 20th century, fictional worlds, lyrical subject, fictionality in lyric poetry"
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Zhang, Weiwei, Jackie Chi Kit Cheung und Joel Oren. „Generating Character Descriptions for Automatic Summarization of Fiction“. Proceedings of the AAAI Conference on Artificial Intelligence 33 (17.07.2019): 7476–83. http://dx.doi.org/10.1609/aaai.v33i01.33017476.
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Summaries of fictional stories allow readers to quickly decide whether or not a story catches their interest. A major challenge in automatic summarization of fiction is the lack of standardized evaluation methodology or high-quality datasets for experimentation. In this work, we take a bottomup approach to this problem by assuming that story authors are uniquely qualified to inform such decisions. We collect a dataset of one million fiction stories with accompanying author-written summaries from Wattpad, an online story sharing platform. We identify commonly occurring summary components, of which a description of the main characters is the most frequent, and elicit descriptions of main characters directly from the authors for a sample of the stories. We propose two approaches to generate character descriptions, one based on ranking attributes found in the story text, the other based on classifying into a list of pre-defined attributes. We find that the classification-based approach performs the best in predicting character descriptions.
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Karoui-Elounelli, Salwa. „Character as a Vanishing Point in American Experimental Fiction“. American, British and Canadian Studies Journal 19, Nr. - (01.12.2012): 56–76. http://dx.doi.org/10.2478/abcsj-2013-0004.
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Abstract My paper discusses the construction of character in some American experimental narratives within the optical paradigm of the vanishing point. In a first part the investment of the pictorial notion of the vanishing point in Faulkner’s Light in August will be discussed as an instance of the occasional confrontation in Modernist fiction of the limits of literary representation, even if the pictorial category is adapted (and so limited) to the specific issue of biracial identity. In a second part, William Gass’s short story “Mrs. Mean” and Paul Auster’s The Locked Room will be examined as instances of a sustained critical recasting of the very concept of character. The trope of the vanishing point is consciously deployed in both texts to reinvent fictional character within the challenging scope of borderlines between presence and absence, the life-like (mimetic) and the purely verbal.
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Nurhayati, Siti, und Fachri Helmanto. „Profile description of Pancasila students in fiction in the thematic book for grade 3“. LADU: Journal of Languages and Education 2, Nr. 1 (30.11.2021): 15–22. http://dx.doi.org/10.56724/ladu.v2i1.61.
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Background: Fiction text is one of the genres of literary works containing fictional story elements created by the author’s imagination. Fiction is believed to be a reading that adds knowledge, insight, enlightens the soul of the reader, and as an effort to instill values, especially the value of educational character to students.
Purpose: This study aims to determine the value of educational characters in fiction stories.
Design and methods: This research was conducted using a qualitative approach to content analysis methods or content analysis with descriptive analysis techniques. The source of the data used is the document in the form of a grade 3 thematic book on the chapter of loving plants and animals.
Results: The results of the study revealed that in the text of fiction in the thematic book grade 3 theme 2 elementary school there are character values of faith, fear of God Almighty with elements of personal morals, and character values of mutual cooperation with elements of caring and sharing. Meanwhile, the character values that have not yet emerged are global diversity, independence, critical reasoning, and creativity.
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Boon, Hussein. „Writing popular music fiction“. Short Fiction in Theory & Practice 13, Nr. 1 (01.03.2023): 37–51. http://dx.doi.org/10.1386/fict_00072_1.
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A recent short story I completed in a style area described as popular music fiction, using fiction to critically explore issues within popular music and communicate these to a wider audience, will be the main focus of this article. The ideas behind the short story and the incorporation of research and subject areas to create a fictional setting, especially intersections with otherness, diversity, resistance, technology, creative practice, business and the future, will be discussed. Key central themes were those relating to race, including lack of presence and attribution and concerns about AI, especially concerning how data is acquired to model music made by current music practitioners. The main character of the story is an AI and is used to foreground these concerns, the nature of musical work, its creation, transmission and consumption.
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S. Green, Mitchell. „From Signaling and Expression to Conversation and Fiction“. Grazer Philosophische Studien 96, Nr. 3 (12.09.2019): 295–315. http://dx.doi.org/10.1163/18756735-09603002.
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This essay ties together some main strands of the author’s research spanning the last quarter-century. Because of its broad scope and space limitations, he prescinds from detailed arguments and instead intuitively motivates the general points which are supported more fully in other publications to which he provides references. After an initial delineation of several distinct notions of meaning (Section 1), the author considers (Section 2) such a notion deriving from the evolutionary biology of communication that he terms ‘organic meaning’, and places it in the context of evolutionary game theory. That provides a framework for a special type of organic meaning found in the phenomenon of expression (3), of which the author here offers an updated characterization while highlighting its wide philosophical interest. Expression in turn generalizes to a paradigmatic form of human communication—conversation—and section 4 provides a taxonomy of conversation-types while arguing that attention to such types helps to sharpen predictions of what speakers say rather than conversationally implicate. We close (5) with a view of fictional discourse on which authors of fictional works are engaged in conversation with their readers, and can provide them with knowledge in spite of the fictional character of their conversation. Such knowledge includes knowledge of how an emotion feels and is thus a route to empathy.
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Koval, Oxana A., und Ekaterina B. Kriukova. „Ludwig Wittgenstein As a Fictional Character. Part I“. Voprosy Filosofii, Nr. 3 (2021): 196–207. http://dx.doi.org/10.21146/0042-8744-2021-3-196-207.
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In these latter days, there is a clear tendency towards convergence in the complex relationship between the two language practices – fiction and philosophy. On the one hand, philosophy increasingly turns to the interpretation of important literary texts. On the other hand, literature responds to the challenges of modern thought. This paper focuses on the creative heritage and personality of Ludwig Wittgenstein, the main initiator of “linguistic turn”, from the point of view not of philosophical, but of literary reception. The art of the word in the 20th century was strongly charged due to the language problems. That is why it could not pass over in silence the philosopher, who showed that language activity is one of the fundamental factors in understanding the world. Different authors, such as Terry Eagleton, Bruce Duffy, Winfried G. Sebald, Umberto Eco, Edgar Lawrence Doctorow, Arkadii Dragomoshchenko, brought out in their works – directly or indirectly – a character undoubtedly similar to Wittgenstein. Eventually, the combination of different aspects creates an integral portrait of the Austrian thinker, representing an adequate alternative to philosophical approaches. The fictitious space of literature allows us to show something that philosophy is unable to say – because of its disciplinary limits and its need to stay inside the facts and laws of logic. This confirms the well-known thesis of “Tractatus Logico-Philosophicus”: “What can be shown, cannot be said” (4.1212).
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McPhail, Eric. „Jean Bodin and the Romance of Demonology“. Análisis. Revista de investigación filosófica 4, Nr. 2 (05.01.2018): 265–76. http://dx.doi.org/10.26754/ojs_arif/a.rif.201722473.
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This article proposes a comparison between the French Renaissance demonologist Jean Bodin and the fictional character Don Quijote. Like the hero of Cervantes’ novel, Bodin believes everything he reads. Consequently, Bodin makes his own discipline of demonology a species of romance that eagerly blurs the boundary of fact and fiction. This type of credulity can be usefully juxtaposed to Michel de Montaigne’s understanding of the imagination and to his more philosophical exploration of the realm of possibility.Keywords: Demonology, fiction, imagination, Jean Bodin, Cervantes, Montaigne.
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Huemer, Wolfgang. „Fictional Narrative and the Other’s Perspective“. Croatian journal of philosophy 22, Nr. 65 (15.09.2022): 161–79. http://dx.doi.org/10.52685/cjp.22.65.2.
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Anti-cognitivism is best understood as a challenge to explain how works of fictional narrative can add to our worldly knowledge. One way to respond to this challenge is to argue that works of fictional narrative add to our knowledge by inviting us to explore, in the imagination, the perspectives or points of view of others. In the present paper, I distinguish two readings of this thesis that reflect two very different conceptions of “perspective”: a first understanding focuses on what the world looks like from a subjective point of view. Within this framework, we can distinguish approaches that focus on the subjective character of experience from others that explore the nature of subjectivity. I will argue that both strands can be successful only if they acknowledge the de se character of imagining. The second conception understands perspective as a method of representing. To illustrate it, I will look back to the invention of linear perspective in Renaissance painting. I will argue that the definition of perspective as a rule-guided method or technique can shed new light on the thesis that works of narrative fiction are particularly suited to display other perspectives
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Doroholschi, Claudia Ioana. „Off the Beaten Path: Ella D'arcy's Yellow Book Stories“. Romanian Journal of English Studies 9, Nr. 1 (01.12.2012): 210–23. http://dx.doi.org/10.2478/v10319-012-0021-z.
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Abstract The small body of work produced by Ella D’Arcy in the 1890s is noteworthy for its experimentation with narrative instability, its unsympathetic treatment of character and its oppressive, claustrophobic fictional world. The paper looks at how D’Arcy’s fiction makes use of shifts in focalisation, melodramatic plot twists and closure to build up a sense of irresoluteness and moral de-centering.
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Hnatkovska, Olena. „The Syntax of Unreliable Narrators’ I-Utterances in ‘Gone Girl’ by G. Flynn“. Linguaculture 9, Nr. 1 (15.06.2018): 69–83. http://dx.doi.org/10.47743/lincu-2018-1-0114.
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Unreliable narration research raises the problem of truthful information presented in fiction, which is for the most part made up. However, the truth in the fictional world is what the reader believes to be true. Therefore, deliberate deluding or confusing the reader by an untrustworthy character creates an additional fictional layer consisting of false facts. This represents the contradiction between the imaginary and the fake, the latter being untrue in terms of fiction. The paper examines how the author of the best-selling novel Gone Girl realizes her intention of deceiving or misleading the readers on the syntactic level of speech of the two main characters who are unreliable narrators. The analysis of sentence structure variety, average sentence length and syntactic stylistic peculiarities of I-utterances aims at ascertaining whether these devices and their frequency indicate that the author gives the readers a hint at the unreliability of the narration. Sentence complexity and types of clauses in composite sentences are also taken into consideration as possible signs of unreliability. As one main character is male and the other is female, the quantitative analysis of syntactic features is carried out separately to detect gender differences.
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Miranti, Ulfa, und Yohanis Franz La Kahija. „THE EXPERIENCE OF BEING A COSPLAYER: AN INTERPRETATIVE PHENOMENOLOGICAL ANALYSIS APPROACH“. Jurnal EMPATI 7, Nr. 1 (26.06.2020): 106–12. http://dx.doi.org/10.14710/empati.2018.20152.
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Cosplay is defined as the type of performing arts of an individual wearing a costume as a fictional character, usually from graphic novels, comics, anime media, cartoons, video games, or science fiction and fantasy. The method of data analysis that is used in this study is an Interpretative Phenomenological Analysis (IPA) approach. The procedure focuses on exploring the experiences, thoughts, and unique events the subject has through interviews. Subjects were selected based on following criteria: subject is a cosplayer that has been actively cosplaying for three years and has played more than five characters. The results of this study show three focus themes of character personification, self-transformation and impression for the sake of appreciation. Researchers found that whilst being a cosplayer, subjects are required to imitate the character not only in terms of visual representation but also the nature possessed by the character. Thus, this study is expected to be useful for a description of a participatory modern subculture, such as cosplay, and an understanding of people with an interest in fictional characters.
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Hariyono, Saharul, und Nurhadi Bewe. „Bissu’s Transvestites in the Buginese-Makassar Tradition through the Transformation of Faisal Oddang’s Literary Works: An Intertextuality Study“. MANUSYA: Journal of Humanities 25, Nr. 1 (09.06.2022): 1–23. http://dx.doi.org/10.1163/26659077-24020006.
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Abstract Writer Faisal Oddang narrated the existence of the bissu community seemingly reconstructed from an understanding of the historical text to become more colorful. This article questions how the transformation model of bissu community figures is revealed in Oddang’s fictional work. This study utilizes Julia Kristeva’s intertext abstracted through ideologeme as a text arrangement that refers to the space of exterior texts (semiotic practice). The results of the study show: first, how the transformation model of the bissu community character appears in the work of fiction; second, the libido of bissu community in their sacred place; third, the bissu community character from marginalized positions fighting injustice against Darul Islam/Indonesia Islamic Army rebels both physically and verbally; fourth, the negotiation of bissu community leaders saving the faith by syncretism with Islam over the religious purification incident. Therefore, in fiction, the character of the bissu community shows both opposition and resistance.
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Van De Mosselaer, Nele. „Imaginative Desires and Interactive Fiction: On Wanting to Shoot Fictional Zombies“. British Journal of Aesthetics 60, Nr. 3 (09.12.2019): 241–51. http://dx.doi.org/10.1093/aesthj/ayz049.
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Abstract What do players of videogames mean when they say they want to shoot zombies? Surely they know that the zombies are not real, and that they cannot really shoot them, but only control a fictional character who does so. Some philosophers of fiction argue that we need the concept of imaginative desires (or ‘i-desires’) to explain situations in which people feel desires towards fictional characters or desires that motivate pretend actions. Others claim that we can explain these situations without complicating human psychology with a novel mental state. Within their debates, however, these scholars exclusively focus on non-interactive fictions and children’s games of make-believe. In this paper, I argue that our experience of immersive, interactive fictions like videogames gives us cause to reappraise the concept of imaginative desires. Moreover, I describe how i-desires are a useful conceptual tool within videogame development and can shed new light on apparently immoral in-game actions.
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Fedotova, Oksana. „Special Strategies of Forming Fictional Narrative Metadiscourse“. Scientific Research and Development. Modern Communication Studies 8, Nr. 6 (25.12.2019): 74–78. http://dx.doi.org/10.12737/2587-9103-2019-74-78.
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The paper deals with special strategies of forming fictional narrative metadiscourse. The strategy of “the effect of a camera” is characteristic of some novels of the middle XX century. According to this strategy, the action quickly shifts from one situational frame to the other. Every new chapter in such narratives begins in a new place, at a different time and with a new character. Sometimes different actions take place within one chapter. The strategy “the imitation of a play” like “the effect of a camera” is connected with the visualization and with the filming of fiction. The author’s metadiscourse is represented by leaving the reader face-to-face with the characters. The reader sees and hears the dialogue between the characters with minute details, such as pauses, stutters and hesitations.
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Amelia, Dina, und Jepri Daud. „FREUDIAN TRIPARTITE ON DETECTIVE FICTION: THE TOKYO ZODIAC MURDERS“. Language Literacy: Journal of Linguistics, Literature, and Language Teaching 4, Nr. 2 (28.12.2020): 299–305. http://dx.doi.org/10.30743/ll.v4i2.3139.
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Sigmund Freud’s theory of psychoanalysis developed in the 1940s as mentioned in Barry (2002) was applied to unravel the unconscious psyche of a fictional character in the novel Tokyo Zodiac Murders by Soji Shimada. Tokiko, the villain in the story has been experiencing abusive treatment from her father, stepmother, and stepsisters. The traumas she has received during her life has led to her decision to commit a well-prepared murder that could not be solved for decades. The qualitative method helps to identify and elaborate every component of the unconscious psyche of the villain, especially the Id, Ego, and Super-Ego in the story. The findings show that Tokiko’s Ego keeps her alive and survive to plan revenge on her family. Meanwhile, her Super-Ego fails to restrain herself from feeding her desire to conduct the vicious murder. Therefore, Tokiko’s Id is responsible for her action which is triggered by her devastating experiences. Her character remains committed and faithful to herself.
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Čermáková, Anna, und Markéta Malá. „Eyes and speech in English, Finnish and Czech children’s literature“. Bergen Language and Linguistics Studies 11, Nr. 1 (15.09.2021): 185–208. http://dx.doi.org/10.15845/bells.v11i1.3444.
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This study explores cross-linguistically, in English, Czech and Finnish, eye-behaviour that occurs in children’s fiction in the vicinity of character speech. We explore how authentic eye behaviour, as an important part of non-verbal communication, is rendered in fictional worlds. While there are more similarities than differences across the languages in the characteristics and narrative functions of fictional eye-behaviour, the linguistic encoding differs substantially due to typological differences between the languages. The same semantic roles are often expressed by divergent syntactic means. The divergence is reflected primarily in the relative weight of different word-order principles, the different means of indicating simultaneity, as well as the role of inflection in Finnish and Czech.
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Demmerling, Christoph. „Von den Lesewelten zur Lebenswelt. Überlegungen zu der Frage, warum uns fiktionale Literatur berührt“. Journal of Literary Theory 12, Nr. 2 (03.09.2018): 260–78. http://dx.doi.org/10.1515/jlt-2018-0015.
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Abstract The following article argues that fictional texts can be distinguished from non-fictional texts in a prototypical way, even if the concept of the fictional cannot be defined in classical terms. In order to be able to characterize fictional texts, semantic, pragmatic, and reader-conditioned factors have to be taken into account. With reference to Frege, Searle, and Gabriel, the article recalls some proposals for how we might define fictional speech. Underscored in particular is the role of reception for the classification of a text as fictional. I make the case, from a philosophical perspective, for the view that fictional texts represent worlds that do not exist even though these worlds obviously can, and de facto do, contain many elements that are familiar to us from our world. I call these worlds reading worlds and explain the relationship between reading worlds and the life world of readers. This will help support the argument that the encounter with fictional literature can invoke real feelings and that such feelings are by no means irrational, as some defenders of the paradox of fiction would like us to believe. It is the exemplary character of fictional texts that enables us to make connections between the reading worlds and the life world. First and foremost, the article discusses the question of what it is that readers’ feelings are in fact related to. The widespread view that these feelings are primarily related to the characters or events represented in a text proves too simple and needs to be amended. Whoever is sad because of the fate of a fictive character imagines how he or she would fare if in a similar situation. He or she would feel sad as it relates to his or her own situation. And it is this feeling on behalf of one’s self that is the presupposition of sympathy for a fictive character. While reading, the feelings related to fictive characters and content are intertwined with the feelings related to one’s own personal concerns. The feelings one has on his or her own behalf belong to the feelings related to fictive characters; the former are the presupposition of the latter. If we look at the matter in this way, a new perspective opens up on the paradox of fiction. Generally speaking, the discussion surrounding the paradox of fiction is really about readers’ feelings as they relate to fictive persons or content. The question is then how it is possible to have them, since fictive persons and situations do not exist. If, however, the emotional relation to fictive characters and situations is conceived of as mediated by the feelings one has on one’s own behalf, the paradox loses its confusing effect since the imputation of existence no longer plays a central role. Instead, the conjecture that the events in a fictional story could have happened in one’s own life is important. The reader imagines that a story had or could have happened to him or herself. Readers are therefore often moved by a fictive event because they relate what happened in a story to themselves. They have understood the literary event as something that is humanly relevant in a general sense, and they see it as exemplary for human life as such. This is the decisive factor which gives rise to a connection between fiction and reality. The emotional relation to fictive characters happens on the basis of emotions that we would have for our own sake were we confronted with an occurrence like the one being narrated. What happens to the characters in a fictional text could also happen to readers. This is enough to stimulate corresponding feelings. We neither have to assume the existence of fictive characters nor do we have to suspend our knowledge about the fictive character of events or take part in a game of make-believe. But we do have to be able to regard the events in a fictional text as exemplary for human life. The representation of an occurrence in a novel exhibits a number of commonalities with the representation of something that could happen in the future. Consciousness of the future would seem to be a presupposition for developing feelings for something that is only represented. This requires the power of imagination. One has to be able to imagine what is happening to the characters involved in the occurrence being narrated in a fictional text, ›empathize‹ with them, and ultimately one has to be able to imagine that he or she could also be entangled in the same event and what it would be like. Without the use of these skills, it would remain a mystery how reading a fictional text can lead to feelings and how fictive occurrences can be related to reality. The fate of Anna Karenina can move us, we can sympathize with her, because reading the novel confronts us with possibilities that could affect our own lives. The imagination of such possibilities stimulates feelings that are related to us and to our lives. On that basis, we can participate in the fate of fictive characters without having to imagine that they really exist.
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Sooryah, N., und Dr K. R. Soundarya. „Erraticism in the Cannibal – A Study of the Work of Thomas Harris“. International Journal of Early Childhood Special Education 12, Nr. 2 (31.12.2020): 18–23. http://dx.doi.org/10.9756/int-jecse/v12i2.201052.
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Literature is the key to human life that resurrects and gives space for introspection, retrospection and various remembrances which are hued by overjoy, pain and trauma. Nowadays crime literature became one of the most popular genres in this era which centers mostly on murder and violence. It started from Edgar Allen Poe’s most famous fictional character Auguste Dupin, whose first appearance was on The Murders in the Rue Mogue, considered to be the first crime fiction, followed by Dr. John Watson, Sherlock Holmes and the like. The genre crime fiction has contributed innumerable number of works in both fiction and non-fiction. Thomas Harris’s Hannibal Rising is one such fiction which tells about the life of a serial killer who is a psychiatrist as well as a cannibal. It is a series of novels about the famous character Hannibal Lecter. Cannibalism and Psychiatry are two extremes which rarely meet. This novel is intertwined with a mix of violence, emotions and childhood trauma. Trauma studies nowadays became a key aspect in literature. In this specific work of Thomas Harris, he describes how the centralized character is affected with psychological trauma, in particular, Acute and Separation trauma. Trauma theory became popularized in 1980s and played major role in Atwood’s novels. This study tries to explain how childhood shapes a person and how behaviorism plays a vital element in one’s life and it also tries to analyze the psychological issues, trauma and defense mechanism through the central character of the novel.
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Major, Laura. „Fictional Crimes/Historical Crimes: Genre and Character in Philip Kerr’s Berlin Noir Trilogy“. Genealogy 3, Nr. 4 (14.11.2019): 60. http://dx.doi.org/10.3390/genealogy3040060.
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This paper will explore Philip Kerr’s Berlin Noir trilogy, composed of March Violets (1989), The Pale Criminal (1990), and A German Requiem (1991), discussing the overlap and blurring of generic boundaries in these novels and the ability of this form to reckon with the Holocaust. These detective stories are not directly about the Holocaust, and although the crimes investigated by the mordant Bernie Gunther are fictional, they are interweaved with the greater crimes committed daily by the Nazi Party. The novels are brutally realistic, violent, bleak, and harsh, in a narrative style highly appropriate for crime novels set in Nazi Germany. Indeed, with our knowledge of the enormity of the Nazi crimes, the violence in the novels seems not gratuitous but reflective of the era. Bernie Gunther himself, who is both hard-boiled protagonist and narrator, is a deeply flawed human, even an anti-hero, but in Berlin, which is “alive” as a character in these novels, his insights, cloaked in irony and sarcasm, highlight the struggle to resist, even passively, even just inside one’s own mind, the current of Nazism. Although many representations of the Holocaust in popular fiction strive towards the “feel good” story within the story, Kerr’s morally and generically ambiguous novels never give in to this urge, and the solution of the crime is never redemptive. The darkness of these novels, paired with the popularity of crime fiction, make for a significant vehicle for representing the milieu in which the Holocaust was able to occur.
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Stougaard-Nielsen, Jakob. „Wallander's Dark Geopolitics“. Nordicom Review 41, s1 (10.09.2020): 29–42. http://dx.doi.org/10.2478/nor-2020-0014.
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AbstractA current fault line in the study of crime fiction as a transnational genre is to what extent crime novels offer readers genuine cosmopolitan windows onto other worlds and cultures or whether it simply is bound to reproduce trite imagologies and national stereotypes. The overarching premise for this article is to explore the extent to which Henning Mankell's crime novels and their adaptations engage the character Wallander's own and “other” worlds with a cosmopolitan perspective, by considering the mutations of Wallander's fictional local world as intricately tied to discursive geopolitical realities of the post–Cold War world. More specifically, I consider what may be gained from exploring the Wallander series within two distinct – yet, I shall argue, related – perspectives on geopolitics and crime fiction: on the one hand, the geopolitics of the translation, adaptation, and reception networks that have “worlded” the Wallander series (what I call Wallander's geopolitical adaptation networks), and on the other, the fictional geopolitical networks that weave the Global North and the Global South together in several of Mankell's intricate crime plots (Wallander's dark geopolitics).
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Bystrova, Tat’yana A. „INTRODUCTION TO BIOFICTION. HISTORY AND BIOGRAPHY BY THE MODERN ITALIAN WRITERS“. RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, Nr. 3 (2023): 282–90. http://dx.doi.org/10.28995/2686-7249-2023-3-282-290.
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The article highlights the specific features of the hybrid genre of biographical writing (also known as «fictional biography»), which has been theorized since the 1990s in France. The biographical novel is a fictional work about a real-life person with elements of authorial fiction. On the textual level, the subject of “hybridization” in biofiction can be both the content plan (speculation of events built around the documentary basis) and the form plan (use of indirect speech, stream of consciousness, insertion of other people’s text, etc.). At the pragmatic level, there is a breakdown of the traditional relationship between reader and text, as information recognized by the reader as fiction is presented as a biographical fact. The article also maps out a circle of questions for researchers and literary critics to address, in particular, the issue of genre boundaries and the development of terminology, the issue of the relationship between a character of biofiction and his historical prototype, the issue of relationship between an author and his work, the issue of the influence of new cultural and media factors on genres of biographical writing.
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Bădulescu, Dana. „Autobiography as Fiction in “A Portrait of the Artist as a Young Man”“. Linguaculture 2, Nr. 1 (30.06.2011): 29–36. http://dx.doi.org/10.47743/lincu-2011-2-1-253.
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This paper looks into the artful way in which James Joyce fictionalizes his autobiography in his Künstlerroman A Portrait of the Artist as a Young Man. Joyce projects his essentially artistic self onto the fictional character Stephen Dedalus, the namesake of the classical ‘cunning’ ‘artificer.’ In his turn, Stephen dreams of becoming Joyce and writing Ulysses. Thus, Joyce’s personal history and Dublin’s geography lose their recognizable ‘reality’ in a blueprint of the artist’s mind that charts a Dublin and a self-reshaped by his imagination.
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Grenouilleau-Loescher, Rebecca, und Kathryn A. Haklin. „Introduction: Characters in/as Connection“. L'Esprit Créateur 63, Nr. 3 (September 2023): 1–9. http://dx.doi.org/10.1353/esp.2023.a906705.
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Abstract: This introduction to the special issue "Connecting Characters in Modern and Contemporary French-language Fiction" offers a critical context for studying character networks and interdependency. Through the lens of Glissant's concept of "Relation" and in dialogue with Jagoda's notion of "network aesthetics," the issue examines what connects characters in fictional works, how these links shape narrative meaning within and across texts, and how character interdependency reflects diverse social, political, and historical contexts. From the nineteenth-century novel to the multi-perspectival fictions of today, the issue attests to a shift in our critical understanding of characters, from a focus on individual centrality to movement within community.
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Oganesyan, Roman G. „Ostap Bender and the criminal code of the RSFSR 1926. Part I“. Vestnik Yaroslavskogo gosudarstvennogo universiteta im. P. G. Demidova. Seriya gumanitarnye nauki 18, Nr. 2 (24.06.2024): 270. http://dx.doi.org/10.18255/1996-5648-2024-2-270-279.
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The article attempts to conduct a legal analysis of one of the most famous works in Soviet literature - the novel "The Twelve Chairs" by Ilf and Petrov. A legal assessment of the activities of his main character, Ostap Bender, is given from the perspective of Soviet criminal legislation - the Criminal Code of the RSFSR of 1926. The topic of this article is relevant because in the Soviet period, the issues of interaction between law and fiction were not sufficiently reflected in research and presented legal conflicts, even having a fictional, imaginary character, ways to tell much more about political and social life and about people involved in various legal conflicts.