Journal articles: 'Adventure fiction'

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Theodorsen, Cathrine. "Political realism and the fantastic romantic German liberal discourse and the Sámi in Theodor Mügge’s novel Afraja (1854)." Nordlit 12, no. 1 (February 1, 2008): 355. http://dx.doi.org/10.7557/13.1350.

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The novel Afraja, written by the German author and liberal Theodor Mügge and published in 1854 provides an opportunity to explore connections between travel writing and adventure stories from the perspective of one of Germany's most popular writers of the nineteenth century. The focus of my discussion in this paper is to explore the implications of the meeting between a fictional Sámi, living in the exotic North and a Danish aristocratic adventurer whose attitudes reflect the discourse of Mügge's politically liberal views. Additionally, Mügges fiction sketches out different images of the Sámi.

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Azizah, Zulfa Nur, Siti Awalia Maryani, and Siti Hotimah Afriani. "ACTION OF ADVENTURE FORMULA IN MULAN 2020." Saksama 1, no. 2 (December 8, 2022): 177–85. http://dx.doi.org/10.15575/sksm.v1i2.27823.

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Films that have action and adventure genres appeal to the audience by displaying scenes that have a sense of tension due to murders, resistance, and extreme actions played by the characters. This research focuses on the narrative and analysis formula fiction. The analysis conducted on the film Mulan 2020 aims to understand the fiction of action and adventure formula, as well as what the action functions in the adventure formula. The research data is in the form of information about film units related to the formulation of the problem which includes John G. Cawelti’s four formulaic fictions, namely storylines, characters, settings, and situations contained in the animated film Mulan 2020. The data collection technique used in this study is the method of observation and literature study. The film Mulan 2020 is an adaptation of one of Disney’s animated live-action films of the same name. Overall, this film presents action and adventure that amazes and attracts the audience by displaying the martial arts skills of the main character. In each of her struggles, this film gives us a deep understanding of how the character Mulan fights for truth and freedom. And more interestingly, Mulan is a strong woman.

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Martino, Maria Carla. "New Woman & Adventure Fiction." English Literature in Transition, 1880-1920 50, no. 1 (2007): 114–17. http://dx.doi.org/10.1353/elt.2007.0008.

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Lyzlov, Maxim. "Conversations about Science Fiction: The Category of “Fantastic” in The Bibliographic Discourse of the 1960s and 1970s." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 360–72. http://dx.doi.org/10.31860/2304-5817-2021-1-19-360-372.

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In the 1950s and 1970s, bibliographers made attempts to define the genre of fiction and offer a systematization of the available fiction literature. The purpose of the article is to trace the development of the category of “fantastic” in the recommendation indexes of Z. P. Shalashova “Adventures. Journeys. Science Fiction”, “Artificial Earth satellites. Interplanetary flights”, “Adventures and travel”. The problems faced by bibliographers were related both to the sharp increase in publications of fantastic literature, and to the weak development of the theoretical apparatus in literary studies and bibliography. The concept of “fantastic” has evolved from an adventure-related type of scientific and educational literature to a metaphorical “dream world” devoid of terminological clarity. The material of bibliographic indexes, de- spite its limited functionality, nevertheless demonstrates that the processes that took place in the field of recommendation bibliography of children’s books reflect the significant difficulties that bibliographers experienced in finding a language for describing fiction.

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Berger, Anna. "Haunted Oppressors: The Deconstruction of Manliness in the Imperial Gothic Stories of Rudyard Kipling and Arthur Conan Doyle." Humanities 9, no. 4 (October 19, 2020): 122. http://dx.doi.org/10.3390/h9040122.

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Building on Patrick Brantlinger’s description of imperial Gothic fiction as “that blend of adventure story with Gothic elements”, this article compares the narrative formula of adventure fiction to two tales of haunting produced in a colonial context: Rudyard Kipling’s “The Mark of the Beast” (1890) and Arthur Conan Doyle’s “The Brown Hand” (1899). My central argument is that these stories form an antithesis to adventure fiction: while adventure stories reaffirm the belief in the imperial mission and the racial superiority of the British through the display of hypermasculine heroes, Kipling’s and Conan Doyle’s Gothic tales establish connections between imperial decline and masculine failure. In doing so, they destabilise the binary construction between civilised Western self and savage Eastern Other and thus anticipate one of the major concerns of postcolonial criticism. This article proposes, therefore, that it is useful to examine “The Mark of the Beast” and “The Brown Hand” through a postcolonial lens.

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Hausknecht, Matthew, Prithviraj Ammanabrolu, Marc-Alexandre Côté, and Xingdi Yuan. "Interactive Fiction Games: A Colossal Adventure." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 05 (April 3, 2020): 7903–10. http://dx.doi.org/10.1609/aaai.v34i05.6297.

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A hallmark of human intelligence is the ability to understand and communicate with language. Interactive Fiction games are fully text-based simulation environments where a player issues text commands to effect change in the environment and progress through the story. We argue that IF games are an excellent testbed for studying language-based autonomous agents. In particular, IF games combine challenges of combinatorial action spaces, language understanding, and commonsense reasoning. To facilitate rapid development of language-based agents, we introduce Jericho, a learning environment for man-made IF games and conduct a comprehensive study of text-agents across a rich set of games, highlighting directions in which agents can improve.

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Hoppenstand, Gary. "Assembling Action: Collecting Popular Adventure Fiction." Journal of American Culture 43, no. 1 (March 2020): 41–48. http://dx.doi.org/10.1111/jacc.13116.

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Fyn, Amy F. "Sources: Encyclopedia of Adventure Fiction: The Essential Reference to the Great Works and Writers of Adventure Fiction." Reference & User Services Quarterly 49, no. 1 (September 1, 2009): 93. http://dx.doi.org/10.5860/rusq.49n1.93.

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Cohen, M. "The Right to Mobility in Adventure Fiction." Novel: A Forum on Fiction 42, no. 2 (June 1, 2009): 290–96. http://dx.doi.org/10.1215/00295132-2009-017.

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Yeates, Robert. "Serial fiction podcasting and participatory culture: Fan influence and representation in The Adventure Zone." European Journal of Cultural Studies 23, no. 2 (August 29, 2018): 223–43. http://dx.doi.org/10.1177/1367549418786420.

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New media affords significant opportunities for audience feedback and participation, with the power to influence the creation and development of contemporary works of fiction, particularly when these appear in serialized instalments. With access to creators permitted via social media, and with online platforms facilitating the creation and distribution of audience paratexts, fans increasingly have the power to shape the fictional worlds and diversity of the characters found within the series they enjoy. A noteworthy and understudied example is fiction podcasting, an emerging form that draws on conventions of established media such as radio and television. Despite the recent surge in the popularity of podcasts, little scholarly attention has been given to the format, except to discuss it as either a continuation of radio programming or part of a transmedia landscape for texts which are centred in media such as television and film. This article argues that fiction podcasting offers unique affordances for creating serial works of fiction, taking The Adventure Zone as a case study which demonstrates the power of successful participatory culture. The podcast has grown from modest beginnings to acquire a considerable and passionate fan network, has diversified into other media forms, and, though available for free, is financially supporting its creators and raising substantial amounts of money for charities. Crucial in its success is the creators’ cultivation of an inclusive environment for fans, and a constant attempt to feature characters representative of a diversity of gender and sexual identities, particularly those typically excluded from other science fiction worlds. This article argues that The Adventure Zone and the format of fiction podcasting demonstrate a shift in contemporary culture, away from established mass media programming and towards a participatory, transmedia, fan-focused form of storytelling which utilizes the unique advantages of new media technologies in its creation, development, and distribution.

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Ball, Alex, Kellie Snow, Peter Obee, and Greg Simpson. "Choose Your Own Research Data Management Guidance." International Journal of Digital Curation 12, no. 1 (September 16, 2017): 13–21. http://dx.doi.org/10.2218/ijdc.v12i1.494.

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The GW4 Research Data Services Group has developed a Research Data Management Triage Tool to help researchers find answers quickly to the more common research data queries, and direct them to appropriate guidance and sources of advice for more complex queries. The tool takes the form of an interactive web page that asks users questions and updates itself in response. The conversational and dynamic way the tool progresses is similar to the behaviour of text adventures, which are a genre of interactive fiction; this is one of the oldest forms of computer game and was also popular in print form in, for example, the Choose Your Own Adventure and Fighting Fantasy series of books. In fact, the tool was written using interactive fiction software. It was tested with staff and students at the four UK universities within the GW4 collaboration.

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Urbancic, Anne. "Picturing Annie's Egypt. Terra di Cleopatra by Annie Vivanti." Quaderni d'italianistica 27, no. 2 (June 1, 2006): 93–106. http://dx.doi.org/10.33137/q.i..v27i2.8580.

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Her readers would not have found the Egyptian adventure portrayed in Terra di Cleopatra to have been too unusual or exotic for Annie Vivanti, a world traveller who had already described countless foreign locales and adventures in previous works. Some of these were presented as fiction; others were understood as autobiographical, especially because she was usually her own protagonist. My study shows that Vivanti’s account of her visit to the land of Cleopatra, was highly compromised by her political allegiances, despite the impression given to readers, including by the publisher, that her book was a reliable travelogue.

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Cowdy, Cheryl. "Do Something! Disciplinary Spaces and the Ideological Work of Play in James De Mille’s The “B. O. W. C.” and Richard Scrimger’s Into the Ravine." Jeunesse: Young People, Texts, Cultures 5, no. 1 (June 2013): 16–37. http://dx.doi.org/10.3138/jeunesse.5.1.16.

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This analysis of a recent example of a Canadian adventure novel, Richard Scrimger’s Into the Ravine, is informed by a comparison to a nineteenth-century adventure novel, James De Mille’s The “B. O. W. C.”: A Book for Boys. I examine the development of the relationship between wilderness and domestic spaces and the ideological imperatives of the genre. As the locus of adventure moves from “real” wilderness spaces to the domesticated spaces of ravine and suburb, I suggest that play replaces survival as the ideological subtexts of young adult fiction. For the boys of contemporary Canadian adventure novels, the ravine becomes a complex moral geography shaped by the reactionary panic of modern adults.

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Bellos, David. "Mathematics, poetry, fiction: the adventure of the Oulipo." BSHM Bulletin: Journal of the British Society for the History of Mathematics 25, no. 2 (July 2010): 104–18. http://dx.doi.org/10.1080/17498430903489237.

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Gee, Henry. "The Methuselah Gene: A Science Fiction Adventure Thriller." Nature Medicine 6, no. 8 (August 2000): 857–58. http://dx.doi.org/10.1038/78607z.

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Holterhoff, Kate. "Late Nineteenth-Century Adventure Fiction and the Anthropocene." Configurations 27, no. 3 (2019): 271–300. http://dx.doi.org/10.1353/con.2019.0017.

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Streltsov, Alexey. "An Anonymous Letter of Warning in Fiction: a Comparative analysis of Translations from English into Russian." Izvestia of Smolensk State University, no. 3(63) (December 19, 2023): 89–103. http://dx.doi.org/10.35785/2072-9464-2023-63-3-89-103.

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The article deals with a letter, that doesn’t bear the name of the sender, and which is given in a work of fiction for the sake of plot development and creating suspence in particular. This kind of inserted texts so far has not been covered by either linguistic or literary scholars, which specifies the novelty in this research. The peculiarities of an anonymous letter, that bears a warning – the most frequent kind in both Russian and English literature – have been made clear. We have studied eight translations of a small-size text from the novel «Adventures of Huckleberry Finn» by Mark Twain into the Russian language, made from the late XIXth up to the early XXIst century. Such fiction text fragments are comprehensible by themselves and, therefore, ideal for comparative analysis of translations. We have determined considerable variations in translation of separate words and combinations, and relative congruity of simple sentences. The latter can either be explained by the same syntactical structure and observance of language and speech norms, or by the awareness of the previous works. Our results can be used by those, who study the rules of translaing fiction, detective and adventure fiction in particular.

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Stoks, Gé. "Adventures In Het Moderne Vreemde Talenonderwijs." Computer-ondersteund talenonderwijs 33 (January 1, 1989): 47–53. http://dx.doi.org/10.1075/ttwia.33.07sto.

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An adventure is a new type of computer game which has become immensely popular in the course of the 1980s. This article is about the possible role of adventures in foreign language learning and teaching (FLL). First there is a brief explanation of what adventures are, the different types and the way communication within the game can take place in natural language. Examples are given for French, German and English. Adventures can play a role in FLL in several respects: -they stimulate discovery learning procedures -they encourage the use of certain reading strategies -they are suitable contexts for vocabulary learning -they can present contexts for communication. Moreover adventures can be looked upon as a new type of literary text, which learners can read as an alternative to a book (some adventures are known as interactive fiction). The article then presents a set of criteria for FLL: For advanced levels text adventures are more suitable than graphic ones from the point of view of language learning, because they present a rich language environment. Graphic ones may be more suitable for beginners. Adventures should accept a variety of syntactic patterns and provide adequate semantic analyses, so that the student gets appropriate feedback. A certain tolerance to spelling is needed, or easy correction options should be available. The program must show the student the type of language it accepts. Hint-files to help students when they get stuck are important and possibly an on-line glossary might be useful. The vocabulary used must not be too exotic and the plot not too complex. It is finally demonstrated that the Infocom adventure SHERLOCK meets these requirements to a large extent.

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Arizpe, Evelyn. "Obsidian Knives and High Tech: Latin America in Contemporary Adventures Stories for Young Adults." International Research in Children's Literature 3, no. 2 (December 2010): 190–204. http://dx.doi.org/10.3366/ircl.2010.0107.

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Adventure fiction set in Latin America remains a largely unexplored territory in children's literature studies. This article examines a group of 21st century young adult novels set in this region and considers the ways in which readers are positioned in relation to the Latin American image repertoire derived from colonial discourse about landscape, culture and inhabitants (Pre-Hispanic civilisations as well as contemporary indigenous and mestizo peoples). It also looks at the juxtaposition of advanced technology and traditional indigenous practices represented in the texts. It argues that despite the persistence of some stereotypes from boys’ popular adventure fiction, the protagonists’ rite of passage experiences in the ‘contact zone’ transform their understanding of the ‘Other,’ leading to a greater social and environmental awareness as well as a questioning of their own values and identity.

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Widhe, Olle. "Som pojkar går och står." Tidskrift för litteraturvetenskap 43, no. 3-4 (January 1, 2013): 29–44. http://dx.doi.org/10.54797/tfl.v43i3-4.10822.

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Just as Boys Do. Reading, Masculinity, and Genre in Ossian Elgström’s Books for Boys This article seeks to introduce a significant but largely uncharted motif in relation to the understanding of stories for boys: the experience of reading literature within literature (Gelebte Literatur in der Literatur). While stories for boys often present the boy character as an astute and real-world man-in-embryo, who gravitates away from unnecessary reading, they also include the reading of adventure stories as an important boyhood experience. Addressing books written for boys by the Swedish author and illustrator Ossian Elgström (1883–1950), this article suggests that reading as a motif occupies a key function in connection to the imaging of masculinity. In part, the experience of reading about male adventure heroes – and the inclination to play the roles of these heroes – evokes hegemonic masculinity as a scheme, shaping how boy characters behave and interact. Moreover, the motif also establishes a meta-fictional layer in the text with an implicit appeal to masculine solidarity. Finally, this article explores how the relation between reading and play in Elgström’s books may be regarded as defining for the adventure-fiction genre as a whole.

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De Cruz, Helen. "The Cave of Adventure." After Dinner Conversation 2, no. 6 (2021): 31–41. http://dx.doi.org/10.5840/adc20212652.

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Is it better to live in truth, or to live a happy lie? What if you could choose to forget past pain? In this work of choose your own adventure style philosophical short story of fiction, you are in the role of the main character, a female scientist studying the memory length of fish. While walking through the park you take an underground passage that has a new, and mysterious, offshoot passage to a cave full of fish tanks. There, you meet a child, the child you didn’t have, in the relationship that didn’t work out. The child takes you to another chamber with humans floating in water in stasis, living out their most blissful lives in their minds. You are given the choice, to join them in the tank to live out your remaining days as a successful scientist, with a loving husband, and a child or, to leave the cave, and enter the painful lonely life that lays ahead of you outside the cave.

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Chaabene, Rached. "L’hybridité dans La Steppe rouge de J. Kessel : limite ou complémentarité ?" Quêtes littéraires, no. 6 (December 30, 2016): 56–64. http://dx.doi.org/10.31743/ql.219.

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The Red Steppe of Joseph Kessel is a valuable work, insofar as it is mainly characterized by its generic hybridity. The six novellas oscillate between the biographical and autobiographical, between history and fiction, between the individual and the collective, between the current and the universal. A sort of juxtaposition and/or co-existence can be traced between the novella of Kessel and other literary genres such as the travelogue, the initiation story, the adventure story, the historical narrative and the fictional narrative. This interdiscursive report makes the historical text an open text, "a hybrid text."

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Kozmina, Y. Y. "EDUCATIONAL POTENTIAL OF THE 20TH CENTURY PHILOSOPHICAL ADVENTURE FICTION." Education and science journal, no. 8 (March 10, 2015): 121. http://dx.doi.org/10.17853/1994-5639-2013-8-121-134.

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Pham-Thanh, Gilbert. "Joseph Kestner, Masculinities in British Adventure Fiction, 1880–1915." Cahiers victoriens et édouardiens, no. 74 Automne (November 14, 2011): 245–47. http://dx.doi.org/10.4000/cve.1416.

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Schwanebeck, Wieland. "Book Review: Masculinities in British Adventure Fiction, 1880-1915." Men and Masculinities 15, no. 1 (April 2012): 84–85. http://dx.doi.org/10.1177/1097184x12439881.

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Chen, Shih-Wen. "Adventure and Detection in Charles Gilson’s Fiction, 1907–1934." Children's Literature in Education 46, no. 1 (July 31, 2014): 53–69. http://dx.doi.org/10.1007/s10583-014-9227-x.

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Cohen, Margaret. "Narratology in the Archive of Literature." Representations 108, no. 1 (2009): 51–75. http://dx.doi.org/10.1525/rep.2009.108.1.51.

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To chart accurately the contours of the novel, literary historians are in the process of recovering the variety and complexity of its generic practice across its history. "Narratology in the Archive" surveys this recovery and discusses its methodology, differentiating this recovery from symptomatic reading. The article then illustrates this method with the recovery of sea adventure fiction as an influential transnational practice of the novel from Defoe to Conrad. I suggest that sea adventure plots are defined by readers' playful manipulation of information to solve problems posed by the text.

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Bilyk, Natalia. ""TREASURE ISLAND" BY R. L. STEVENSON: A GAME FOR CHILDREN AND ADULTS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 2(34) (2023): 10–13. http://dx.doi.org/10.17721/1728-2659.2023.34.02.

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"Treasure Island" by R. L. Stevenson is presented in the context of British Neo-Romanticism, that embodied masculine culture, characteristic of the late Victorian period, and produced a special type of "everyage" reader, as well as adventure literature addressed to him. "Treasure Island" is one of the first novels (romances), which were intentionally written both for children and for adults. Still, its reputation of the masterpiece of boyhood fiction may prevent readership from capturing "adults" implications, that primarily exist at the deepest levels of human consciousness and relate to the complicated nature of human character and behavior. The interrelation of "children" and "adults" layers unfolds in the playful discourse of the novel, discussed in the paper as a boyhood adventure, as a quest, or as an intertertextual game with its readers. Stevenson’s conception of a fictional world as the fusion of the imaginative and of the real, where the imaginative plays a leading role, is of the utmost importance for the topic of the paper. Pirate boyhood game is revealed on two levels: at the surface level, as an objective reality created in accordance with the codes of adventure literature, and at the deeper level, as an expression of a youthful desire for adventures and fulfillment of a boyish sea dream. The former is emphasized by explicit allusions to Ballantain’s "Coral Island", and the latter is prompted by not so visible allusions to Poe’s "The Narrative of Arthur Gordon Pym". The plot of the novel is designed as a quest, but "Treasure Island" is also a moral or psychological quest of some kind, so both the narrator and the reader have to look for answers in shifts in all characters of the story and not only in Long John Silver. The abundance of intertextual interconnections urges the reader to participate in unraveling intertexts and interpreting them in line with general and individual reader experience.

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Roberts, Candice D. "Princesses, Bad Little Boys, and Normal People." Screen Bodies 8, no. 2 (December 1, 2023): 78–98. http://dx.doi.org/10.3167/screen.2023.080207.

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Abstract Adventure Time is an animated series and bildungsroman, centered on the primary protagonist, Finn, and the normative prescriptions of identity as represented in his growth. The series evolves to offer nuanced and alternative representations of fluidity and the queer body, and the current research investigates queer potentiality in this speculative fiction/fantasy text. By weaving together extant understandings of bodies and animation with theories of the queer body, this analysis uses fluidity to examine queerness in Adventure Time. Further, it proposes that the body is one site—along with constructs of family, gender, and time—where fluidity may represent queerness.

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Roshchina, Olga S., and Oksana A. Farafonova. "AUTOBIOGRAPHIES BASED ON MODELS OF FICTION LITERATURE PLOTS IN RUSSIAN MEMOIRISTICS OF THE 18TH CENTURY." Lomonosov Journal of Philology, no. 4, 2023 (August 23, 2023): 113–22. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-04-10.

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The article identifies thе alternative changes to the traditional plot pattern for autobiographical narration. Memoirs of the 18th century are based on the cumulative principle presuming that heterogeneous events (both nation-wide and those of public and private life of the memoirist himself) are described in parallel and in a strict chronological sequence. In contrast to the previous tradition of memoir-making, Shakhovskoy conceptualizes his life as moving from happiness to unhappiness and focuses on the cumulative plot of an adventure novel. He describes only official activity and builds up the plot of the autobiography as a number of series, consisting of structurally homogeneous microplots or plot situations. Happiness alternates with unhappiness both within the series of microplots and in the very sequence of the series (loss of patrons — victories over opponents — victories of opponents — success in the service of Her Majesty). Unlike other autobiographies, The Adventures of Ensign Klimov is based not on the cumulative but on the cyclic pattern of the plot (forced abandonment of the Fatherland and the family — suffering calamities in exile — return). The plot of Klimov’s memoirs is semantically based on the story of cruel fate and God’s will. The memoirs of Shakhovsky and Klimov actually represent two possible options for transferring the plot structure of epic genres into memoir narration: specifically, the cumulative plot of an adventure novel in one case, and the cyclic one of the parable of the prodigal son and ancient Russian stories dating back to it in the other. The use of models of fiction literature plots is predetermined by the authors’ conceptual understanding of their own life history, in contrast to most memoirs of the 18th century, where events are simply recorded as a chronicle and do not line up in a semantically determined plot series.

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Poynter, Elizabeth. "Cross-dressing in Children’s Adventure Fiction: Does it always challenge Gender Stereotypes?" International Journal of Applied Linguistics and English Literature 8, no. 4 (July 31, 2019): 137. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.4p.137.

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Gender identity is nowadays widely agreed to be socio-culturally constructed. Children’s books may have a powerful impact on such constructions, particularly in the mid-twentieth century before the supremacy of television and digital media. Much popular children’s fiction of this period has been dismissed as conforming to, rather than challenging, gender stereotypes. Is this in fact too simplistic a picture? Victoria Flanagan (Into the Closet; Reframing Masculinity) has theorised that in children’s adventure fiction females take on male identities to gain agency, often very successfully, while males perform femininity less successfully and generally with comedic effect. This study of six cases of cross-dressing in British children’s fiction does not support this view. Cross-dressing may be primarily a plot device aimed at heightening the mystery and tension; female cross-dressers may be passive and ‘feminine’, while males may in fact outperform females in the ‘opposite’ gender role and on occasion gain an agency through that cross-dressing which was denied them in their male attire. In all the cases explored here, the cross-dresser was a subsidiary character rather than a protagonist, and this may be key to determining how cross-dressing is portrayed.

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Kevin Alexander Boon. "Violent Adventure: Contemporary Fiction by American Men (review)." Studies in the Novel 40, no. 3 (2009): 381–83. http://dx.doi.org/10.1353/sdn.0.0025.

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Moskowitz, David. "The Rediscovered 20th Century Boy Scout Dust Jacket Artwork of New Jersey Pulp Artist Chris Schaare." New Jersey Studies: An Interdisciplinary Journal 9, no. 2 (July 25, 2023): 314–33. http://dx.doi.org/10.14713/njs.v9i2.335.

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Christian Richard “Dick” Schaare Jr. (pronounced Shar) was arguably New Jersey’s most prolific and perhaps greatest pulp artist of the 20th century. His iconic artwork would grace hundreds of book covers, dust jackets, comic books, magazines, cigar boxes, calendars, milk cartons, and advertisements for more than 40 years from the 1920s to the 1960s. His pulp fiction artwork is well-known except for 18 dust jackets commissioned by the A. L. Burt Company for their Boy Scout fiction series books published in the mid to late 1920s. That he illustrated these dust jackets, brimming with action, adventure, and drama, has been largely forgotten by time, but they highlight his iconic pulp fiction style early in his career.

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Sengupta, Sohini. "Empowering Girlhood Journeys: Feminist Mythic Revision in Contemporary Indian Diaspora Children’s Fiction." International Journal of English Literature and Social Sciences 7, no. 3 (2022): 248–52. http://dx.doi.org/10.22161/ijels.73.37.

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There had been relatively little interest in a narrative of female individuation within mythology. Revisionist myths and legends in contemporary literaturehave thus addressed issues of women’s identity and autonomy while redesigningthe gendered spaces in these cultural narratives. The need for alternative mobility arcs within the cultural imaginary was also recognized for adolescent girls in their quest for subjectivity.This paper thus explores two works of children’s fiction, viz. Sayantani Dasgupta’s Game of Stars(2019) from the Kiranmala and the Kingdom Beyond series and Roshani Chokshi’s Aru Shah and the End of Time (2018) as coming-of-age immigrant narratives where young girls undergo heroic adventures restructuringIndian mythology and Bengali folktales. Dasgupta’s Kiranmala and the Kingdom Beyond series intertwines intergalactic science and Bengali folktales, mostly from the Thakumar Jhuli (1907), meshing different fairy tale characters aidingthe adolescent female protagonist Kiranmala, who isa neotericgutsy counterpart of the warrior princess in Dakshinaranjan Mitra Majumder's fairy tale collection.At the same time, Roshani Chokshi’s Aru Shah fantasy adventure series celebrates the Indian heritage of Hindu mythology (particularly the Mahabharata) in the diaspora, while empowering young immigrant girls to imagine and undertake non-normative feminist voyages.

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Kardiansyah, M. Yuseano. "Philip Pullman’s Northern Lights: Exploring Children and Myths as the Intrinsic Formulation in an Adventure Story." Rainbow : Journal of Literature, Linguistics and Culture Studies 12, no. 2 (October 28, 2023): 141–50. http://dx.doi.org/10.15294/rainbow.v12i2.73949.

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This study investigates a novel entitled Northern Lights (1995), authored by Philip Pullman as a fantasy fiction in the context of popular literature. The aim of this study is to reveal the significance of children and myth characters as the formula and the intrinsic formulation of this novel as an adventure story. As a textual study, this study uses a narrative analysis method that can help to explore the intrinsic elements of prose fiction. The relevant data collected and analyzed in this study are narrations or dialogues that refer to particular acts and speech of characters, settings of place, theme, and plot in the novel. All data are analyzed to disclose the conception of children and myths used as the basic formula of this novel. At the end of the analysis, the investigation reveals the significance of children and myth characters in this novel. They are seemingly used to attract readers’ interest and concern in transcending their imagination boundaries in their daily lives. Besides, this study can also explicate how they are intrinsically formulated in an adventure story.

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Ordaz Gargallo, jorge. "Geology and literary fiction." BOLETÍN GEOLÓGICO Y MINERO 134, no. 1 (March 2023): 67–85. http://dx.doi.org/10.21701/bolgeomin/134.1/004.

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In this article the relations between geological sciences and literature of fiction, especially with science-fiction, are reviewed. The consolidation of geology as a scientific specialization in the first half of XIXth century attracted some writers of adventure and fantasy novels who used, among other topics, matters based on geological knowledge. Some of the most representative works in this field, published in the XIXth and XXth centuries, by authors as Jules Verne, Arthur Conan Doyle, Edgar Rice Burroughs, H. P. Lovecraft, Vladimir Obruchev, Arthur C. Clarke, George Gaylord Simpson and Sarah Andrews, are mentioned. Their contributions are divided in sections according to the aspects involved: the hollow Earth and the exploration of its inner part; the lost worlds (superficial, subterranean and extraterrestrial), inhabited by extinct animals; the prehistoric times and its antediluvian fauna; trips to other geological epochs, above all the Mesozoic times of the great dinosaurs; volcanoes, earthquakes and other natural disasters; and mines and mineral deposits. Finally, the geology of certain literary territories and the geologist, men or women, as a main character in fiction are also taken into account.

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Baysal, Kübra. "Anthropogenic Worlds of Transformation and Destruction: Doris Lessing’s Climate Fiction Duology." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 15 (December 19, 2022): 31–50. http://dx.doi.org/10.26881/jk.2022.15.03.

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Depicting a world stricken with an ice age in the North and drought in the South, Doris Lessing’s Mara and Dann: An Adventure (1999) recounts the survival story of two siblings, Mara and Dann, amidst un/natural and societal havoc. The sequel, The Story of General Dann, Mara’s Daughter, Griot, and the Snow Dog (2005) pictures the dramatic transformations both in the nonhuman nature and the protagonists’ lives after the devastating disasters in the first novel. Migrating among thousands of people from the south towards northern Ifrik and passing through desolate lands scorched with drought, 4re, 3ood, and diseases in Mara and Dann, the protagonists mature as they learn to live in a perilous and erratic world populated with survivalists solely focused on personal gain. Through the horrendous picture of an Ifrik parched with drought in the South and frosted with a solid layer of ice at the top north, the novel pictures the helplessness of humankind through Mara and Dann’s quest for life in the face of unstoppable and inevitable environmental calamities. With the melting of the ice in the Northern Yerrup and the flooding in the Northern Ifrik, General Dann delivers Dann’s struggle to cope with his personal loss as the world changes once again, and the climate gets cooler. Obsessed with knowledge and set on to save a library, he races against time, human beings, and the hostile nonhuman environment. In this light, this study aims to analyse Doris Lessing’s climate fiction (cli-fi) duology, Mara and Dann: An Adventure and General Dann and Mara’s Daughter, Griot, and the Snow Dog as climate fiction novels reflecting the destructive impact of climate change on humans and nonhuman nature in the anthropogenic conditions of the fictional world, which is not a far cry from our world in the twenty-first century.

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Elder, Nicholas A. "Joseph and Aseneth: An Entertaining Tale." Journal for the Study of Judaism 51, no. 1 (February 17, 2020): 19–42. http://dx.doi.org/10.1163/15700631-12511267.

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Abstract This article argues that whatever else Joseph and Aseneth is and for whatever other reason that it might have been written, the narrative is an entertaining tale. The starting point for this thesis is an assessment of the extent to which Joseph and Aseneth can be characterized as “fan fiction.” The article suggests that because both fan fiction and Joseph and Aseneth are “archontic,” fan theory can profitably inform Joseph and Aseneth. This theory is then applied to Joseph and Aseneth to throw new light on the motivation for which Joseph and Aseneth was written, specifically suggesting that, like fan fiction, the narrative is the result of the simultaneous adoration of and frustration with a specific cultural text, namely the Joseph Cycle. The article further contends that the narrative makes extensive use of irony, humor, and adventure as it displays various tendencies of fan fiction.

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Rouleau, Brian. "Childhood's Imperial Imagination: Edward Stratemeyer's Fiction Factory and the Valorization of American Empire." Journal of the Gilded Age and Progressive Era 7, no. 4 (October 2008): 479–512. http://dx.doi.org/10.1017/s1537781400000876.

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Numerous studies have appeared in recent years that deal with the reasons and rationalizations that accompanied America's overseas acquisitions in 1898. This article uses juvenile series fiction to examine how the nation's youth—boys in particular—became targets of imperial boosterism. In the pages of adventure novels set against the backdrop of American interventions in the Caribbean and the Philippines, Edward Stratemeyer, the most successful author and publisher of youth series fiction, and other less well-known juvenile fiction producers offered sensationalistic dramas that advocated a racialist, expansionistic foreign policy. Stratemeyer and others offered American boys an imaginative space as participants in and future stewards of national triumph. Young readers, the article argues further, became active participants in their own politicization. An examination of the voluminous fan mail sent to series fiction authors by their juvenile admirers reveals boys' willingness, even eagerness, to participate in the ascendancy of the United States.

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Turner, Stephen. "Particles of Light." Film and Philosophy 26 (2022): 103–22. http://dx.doi.org/10.5840/filmphil2021113014.

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This article addresses recent science fiction films about the colonization of outer worlds, or space-steading, in the context of the longer colonial history of the frontier. Paying particular attention to Interstellar (Christopher Nolan, 2014), Serenity (Joss Whedon, 2005) and The Wild Blue Yonder (Werner Herzog, 2005), I argue that colonizing outer space is not only a race to the new frontier, but that this takes place because technologies that picture space have quickened the pulse. Through its imagining of the end of times as a reiteration of colonizing adventure, and the emptying of people from their place, the technology of film has itself produced the accident (Virilio, 2007) of an uninhabited earth. As suggested by the cinematically derived kinesis of wormholes, space wrinkles, and warp speeds, what might be left as a form of life is none other than film itself. The hyper-kinesis of film spectacle takes on a non-human life of its own, which, in science fiction film, constitutes a form of self-alienation, removing viewers from the places they actually inhabit and displacing the histories they unfold. In this way, I address what is truly cinematic about the film frontier traversed by the new space of uber-masculine adventurer-settlers.

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Cohen, Margaret, and Rodrigo Soares de Cerqueira. "NARRATOLOGIA NO ARQUIVO DA LITERATURA * NARRATOLOGY IN THE ARCHIVE OF LITERATURE." História e Cultura 5, no. 2 (August 31, 2016): 20. http://dx.doi.org/10.18223/hiscult.v5i2.1915.

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Resumo:Os historiadores literários estão escavando uma grande variedade de formas literárias esquecidas, o que coloca uma questão das mais importantes: como apreender a especificidade dessas obras. A leitura cerrada e a leitura sintomática têm sido, até aqui, as ferramentas mais importantes usadas pelo críticos literários, mas elas se mostram ineficazes para lidar com romances que não se conformam com os paradigmas realista e modernista. O artigo ilustra esse método através da redescoberta da ficção de aventura marítima enquanto uma influente prática transnacional do romance de Defoe a Conrad.Palavras-chave: narratologia; arquivo; ficção marítima Abstract:The literary historians are excavating a great range of forgotten literary forms, which posits the important question on how to apprehend their specificity. So far, close reading and symptomatic reading have been the most important tools used by literary critics, but they are unable to deal with novels that do not conform to the realist and modernist paradigms. The article examines this return to the archive discusses the methodology necessary to grasp these forgotten forms. The article illustrates this method through the rediscovery of sea adventure fiction as an influential transnational practice of the novel from Defoe to Conrad.Keywords: narratology; archive; sea adventure fiction

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Markova, M. V. "Georgette Heyer, history, and historical fiction." Voprosy literatury, no. 1 (February 5, 2024): 198–203. http://dx.doi.org/10.31425/0042-8795-2024-1-198-203.

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The review discusses a volume of scholarly articles edited by Samantha Rayner and Kim Wilkins that sets out to present a comprehensive body of research into the oeuvre of the English novelist Georgette Heyer. The book comprises several sections: gender, genre, sources, and circulation and reception. Heyer is the renowned founder of Regency romance, whose work is noted for exceptional attention to historical facts and reconstruction of the aristocratic slang of the period. Her novels, however, remained largely ignored by scholars. The volume’s editors succeed in producing an invaluable compilation enriching the studies of 1920s English genre literature by considering Heyer’s work in the context of post-war culture, with its heightened interest in the Napoleonic era, as well as in relation to literary tradition, especially Jane Austen’s works, but also referencing adventure novels of Heyer’s older contemporaries Baroness Orczy and Rafael Sabatini.

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Nguyen Phuong, Khanh, and Thu Phan Le Ngoc. "THE CHARACTERISTICS OF PICARESQUE FICTION IN THE NOVEL THE ADVENTURE OF AUGIE MARCH (SAUL BELLOW)." UED Journal of Social Sciences, Humanities and Education 11, no. 2 (December 31, 2021): 103–14. http://dx.doi.org/10.47393/jshe.v11i2.1007.

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Picaresque novel is one of the most pre-existing genres of novels in European literature as a provocation against the typical Chivalric romance. The Adventure of Augie March by Saul Bellow is a good example of the return of this genre in the twentieth century. The novel tells the story of the varied and often aimless pursuits of a young man, Augie, growing up in the decades before and during the Great Depression, the great economic cataclysm of the 1930s. Using poetic and sociological research methods, this article focuses on clarifying the characteristics of the picaresque novel in The Adventure of Augie March. This style writing manifested in the plot of the journey, depicting a chaotic world where the main character Augie March - a typical pícaro character in modern life - become a solitary individual, an anti-hero man always seeking out the reason for his existence. The first-person autobiographical narrative and the satire are also classic principles of picaresque genre that can be found in this novel. It can be sail, The Adventure of Augie March is a rebirth of the picaresque novel genre in Saul Bellow's own way to convey contemporary problems. Thereby the readers realize the modern anti-hero is not similar to the heroic figure of the romance, for his world is chaos and he struggles to merely survive, In a world that ignores the rules of chivalry, the only workable rule is every man for himself.

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Poynter, Elizabeth. "Talking Time in Children’s Adventure Fiction: Which Gender Controls the Discourse?" International Journal of Applied Linguistics and English Literature 7, no. 5 (September 1, 2018): 87. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.5p.87.

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It is nowadays widely agreed that gender identity is socially and culturally constructed. This construction is enabled by parental and other adult models, parental treatment, peer pressure and the media. Today television has a powerful impact, but in the mid-twentieth century books were more influential for many children. Did popular children’s fiction of this period merely reflect society’s bipolar gender constructs, or did it in any way challenge these? Whereas folklinguistics would suggest that females are more verbose than males, sociolinguists have found the opposite to be true in many contexts; public discourse such as meetings and the classroom tends to be dominated by males. There have been a number of studies of verbosity in real-life contexts; this cross-disciplinary study of four children’s adventure books examines the discourse to see who is given the most ‘talking time’. It was hypothesised that the authors would be influenced either by the folklinguistic view and give their girls long speech turns, or by the actual discourse they themselves experienced and give the boys the lion’s share. The actual picture that emerges is far more complex, suggesting that while some writers did indeed reflect and support the accepted gender roles of the society in which they wrote, others created discourse which interwove gender, age and personality, with personality the most powerful factor in determining dominance.

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Kiose, Maria I. "Text and Discourse Linguistic Creativity of Children's English-Language Adventure Fiction." Vestnik Tomskogo gosudarstvennogo universiteta, no. 466 (2021): 5–15. http://dx.doi.org/10.17223/15617793/466/1.

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The article explores the specificity of linguistic creativity in the discourse of children's English-language adventure fiction of the 1950s. The aim of the research is to develop the parametrization and vector-space method of discourse and text linguistic creativity assessment to evaluate the linguistic creativity potential of individual texts displaying similar discourse features. To serve as the research data three discourse fragments were selected, which represent three basic narrative types, Orientation, Complicating Actions, Evaluation and Resolution. To achieve the aim, the author applies the procedure of parametrization analysis followed by general and analytic statistics analysis and vector-space modelling. With the system of 52 parameters featuring linguistic creativity in phonology, word-formation, morphology, lexicology and phraseology, syntax, and graphics, the author manually annotates and processes the discourse fragments of similar size exemplifying three narrative types of adventure fiction literature, with the total sample size of 55,000 characters. General statistics analysis allowed revealing the absolute and relative parameter values in three discourse fragments and defining the relative parametric activity of single parameters and parameter levels. Analysis of variance helped define the correlation indices of parameter paired combinations, which resulted in detecting significant binary parameter groups . Individual parameter values and their binary groups served to construe the vector-space models of discourse and text linguistic creativity for the discourse narrative types under consideration. Thus, the author obtained an efficient instrument for discourse linguistic creativity evaluation and, furthermore, for assessing the potential of each individual text in terms of displaying stronger or weaker correlation with the vector coordinates of the discourse linguistic creativity vector-space model. With the frequency and variance analysis, the author disclosed two types of discourse linguistic creativity performance techniques, that is the individual parameter activation and the parameter synchronization. Both must be considered when the decision on linguistic creativity assessment in a concrete text is made. The resulting model shows that the parameter values of linguistic creativity in individual texts can manifest themselves in appearing both higher and lower than the reference parameter values of discourse creativity, which can contribute to disclosing new directions in creativity processing and understanding.

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Stott, Rebecca. "The Dark Continent: Africa as Female Body in Haggard's Adventure Fiction." Feminist Review, no. 32 (1989): 69. http://dx.doi.org/10.2307/1395364.

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Stott, Rebecca. "The Dark Continent: Africa as Female Body in Haggard's Adventure Fiction." Feminist Review 32, no. 1 (July 1989): 69–89. http://dx.doi.org/10.1057/fr.1989.20.

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Christopher, Joe R. "Review: The Transcendent Adventure: Studies of Religion in Science Fiction/Fantasy." Christianity & Literature 35, no. 4 (September 1986): 32–34. http://dx.doi.org/10.1177/014833318603500409.

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Chapman, Amanda. "Queer Elasticity: Imperial Boyhood in Late Nineteenth-Century Boys' Adventure Fiction." Children's Literature 46, no. 1 (2018): 56–77. http://dx.doi.org/10.1353/chl.2018.0003.

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Berry, Chris. "No Father-and-Son Reunion: Chinese Sci-Fi in The Wandering Earth and Nova." Film Quarterly 74, no. 1 (2020): 40–44. http://dx.doi.org/10.1525/fq.2020.74.1.40.

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Chinese films in “the Chinese century” are more expansively confident than ever. A new vogue for science fiction, a genre that has taken off in China alongside the country's stratospheric growth, suggests that China is ready to take up the baton of galactic discovery adventure. Chris Berry examines the father-son narratives in The Wandering Earth (Frant Gwo, 2019) and Nova (Cao Fei, 2019), two recent films that link Chinese patriarchy to the triumph and trials of modern science and progress. The Wandering Earth reaffirms those dominant models in action adventure mode, while Nova's melancholic wanderings are ambivalent and even mournful. Nova reveals a more complex and varied Chinese imagination regarding the challenges presented by the twenty-first century than a mainstream production like The Wandering Earth.

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Journal articles on the topic 'Adventure fiction'

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