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Journal articles on the topic 'Bormann, Martin, in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Bilavsky, Jörg von. "Volker Koop, Martin Bormann. Hitlers Vollstrecker. Wien/Köln/Weimar, Böhlau 2012." Historische Zeitschrift 300, no. 2 (April 26, 2015): 555–56. http://dx.doi.org/10.1515/hzhz-2015-0179.

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2

Anslinger, K., G. Weichhold, W. Keil, B. Bayer, and W. Eisenmenger. "Identification of the skeletal remains of Martin Bormann by mtDNA analysis." International Journal of Legal Medicine 114, no. 3 (February 14, 2001): 194–96. http://dx.doi.org/10.1007/s004140000176.

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3

Flauaus, Charlet. "Der NS-Funktionär und seine private Bibliothek." Bibliotheksdienst 52, no. 6 (May 25, 2018): 455–80. http://dx.doi.org/10.1515/bd-2018-0053.

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Zusammenfassung Martin Bormanns Privatbibliothek, die zu großen Teilen in den Anfangsbestand der Bibliothek der Johannes Gutenberg-Universität Mainz bei deren Neugründung im Jahre 1946 einging, hält keine größeren Überraschungen hinsichtlich der Interessen des ehemaligen NS-Funktionärs bereit. Zahlenmäßig überwiegen Titel zum Thema „Kirche/Jesuitenorden“, Literatur nationalsozialistischer Autoren und deren Vordenker, aus den Bereichen Geschichte und Militär. Bormann war erwiesenermaßen involviert in den Bücherraub der Nazis. Privat scheint er sich allerdings nicht an beschlagnahmtem und zwangsverkauftem Besitz bereichert zu haben.

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4

Vann, J. Don. "George Eliot's Serial Fiction. Carol A. Martin." Nineteenth-Century Literature 50, no. 2 (September 1995): 247–49. http://dx.doi.org/10.2307/2933701.

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5

Vann, J. Don. ": George Eliot's Serial Fiction. . Carol A. Martin." Nineteenth-Century Literature 50, no. 2 (September 1995): 247–49. http://dx.doi.org/10.1525/ncl.1995.50.2.99p0160f.

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6

Werle, Dirk. "Knowledge in Motion between Fiction and Non-Fiction." Daphnis 45, no. 3-4 (July 18, 2017): 563–77. http://dx.doi.org/10.1163/18796583-04503011.

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In epic poems of the seventeenth century written in German about the Thirty Years’ War, knowledge is set in motion, especially in the context of genre change and shifts in the generic tradition as well as in the conflictive area between fiction and non-fiction. The generic adjustments are partially caused by the transfer of a Greek and Latin genre model into German. This is illustrated by two examples, Martin Opitz’s Trost-Getichte in Widerwärtigkeit des Krieges, first published in 1633, and Georg Greflingerʼs Der Deutschen Dreißig-Jähriger Krieg, published in 1657.

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7

Schoenberger, Nancy. "The Fiction of Valerie Martin: An Introduction by Veronica Makowsky." Tulsa Studies in Women's Literature 37, no. 1 (2018): 228–30. http://dx.doi.org/10.1353/tsw.2018.0022.

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8

Nash, J. "Fiction May be a Legal Paternity: Martin Amis's The Information." English 45, no. 183 (September 1, 1996): 213–24. http://dx.doi.org/10.1093/english/45.183.213.

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9

Touverey, Baptiste. "Martin Zimmermann : « La cruauté des empereurs romains est une fiction »." Books N° 51, no. 2 (February 1, 2014): 20–23. http://dx.doi.org/10.3917/books.051.0020.

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10

Alborg, Concha, and Joan Brown. "Secrets from the Back Room: The Fiction of Carmen Martin Gaite." Hispanic Review 57, no. 4 (1989): 533. http://dx.doi.org/10.2307/473776.

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11

Glenn, Kathleen M., and Joan Lipman Brown. "Secrets from the Back Room: The Fiction of Carmen Martin Gaite." Hispania 72, no. 2 (May 1989): 306. http://dx.doi.org/10.2307/343132.

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12

Mourey, Marie-Thérèse. "Historizität und Fiktion in Martin Opitzens Versepen." Daphnis 47, no. 1-2 (March 5, 2019): 221–37. http://dx.doi.org/10.1163/18796583-04701008.

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This article seeks to shed new light on well known epic poems by Martin Opitz, especially the Trostgedichte, which were written at the beginning of the war. The relationship between history and fiction is developed through a specific kind of “story telling”, which aims at presenting the protestants as victims of persecution within all Europe, without mentioning the origins and reasons of this specific war in Germany. The author Martin Opitz, as their harbinger, tries to give moral and philosophical support to his readers but also calls for a strong resistance. The different epic works Opitz wrote during his short life can thus be seen as a encrypted and steadily updated comment to the current political and military events.

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13

Jaffe, Catherine Marie. "Patterns of Fiction and Desire: Childhood Reading in Carmen Martin Gaite's Retahilas." MLN 112, no. 2 (1997): 182–200. http://dx.doi.org/10.1353/mln.1997.0023.

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14

Taberner, Stuart. "Aging, Late Style, and Untimeliness in Recent Literary Fiction by Martin Walser." New German Critique 42, no. 2 125 (August 2015): 97–113. http://dx.doi.org/10.1215/0094033x-2889284.

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15

Veisland, Jørgen. "Eros and Ethics in Martin A. Hansen’s Novel The Liar." Interlitteraria 23, no. 1 (August 5, 2018): 100–109. http://dx.doi.org/10.12697/il.2018.23.1.11.

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Seduction plays a dual role in Martin A. Hansen’s novel The Liar. Johannes Vig, the narrator/protagonist is prone to repeat a pattern of triangular erotic relationships while at the same time engaging in literary seduction. He hides and reveals the truth through a rhetoric of fiction that carries Kierkegaardian overtones. Johannes who is both teacher and preacher on an island off the mainland at some points approximates the Kierkegaardian category of the demonic, being afraid of opening up. Johannes is suffering from a Freudian compulsion to repeat threatening to bar him from the ethical metamorphosis that would absolve him. The repetitiveness of his sexuality paradoxically spurs on a search for truth and ethics as Johannes distances himself from the past in an attempt to transcend the barriers of dualism implicit in the past-present dichotomy. Fictional seduction and rhetorical persuasion become ways of approximating the truth. Yet fiction is abandoned in the end in favour of a different form of writing as Johannes realizes that a new writing project is necessary whereby ethics becomes understood as selflessness. This insight paves the way for the recognition of nature as flux and the recognition of truth as something that cannot be pinned down since it is fundamentally unsubstantial, in the Buddhist sense of sunyata.

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16

Adeagbo, Oluwafemi Atanda. "QUEER AFRICA: NEW AND COLLECTED FICTION EDITED BY KARIN MARTIN AND MAKHOSAZANA XABA." Gender Questions 3, no. 1 (January 13, 2016): 133–36. http://dx.doi.org/10.25159/2412-8457/824.

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17

Brittan, Jennifer C. "Martin R. Delany’s Speculative Fiction and the Nineteenth-Century Economy of Slave Conspiracy." Studies in American Fiction 46, no. 1 (2019): 79–102. http://dx.doi.org/10.1353/saf.2019.0003.

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18

Jackson, Peter A. "Situating Sexualities: Queer Representation in Taiwanese Fiction, Film and Public Culture. Fran Martin." China Journal 57 (January 2007): 223–26. http://dx.doi.org/10.1086/tcj.57.20066283.

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19

Denti, Chiara. "Bronwen Martin, The Fiction of J. M. G. Le Clézio. A Postcolonial Reading." Studi Francesi, no. 171 (LVII | III) (December 1, 2013): 650. http://dx.doi.org/10.4000/studifrancesi.2892.

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20

Darby, Robert. "Not Just a Family Historian: Literary Influences on the Fiction of Martin Boyd." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 29, no. 3 (July 2, 2016): 181–85. http://dx.doi.org/10.1080/0895769x.2016.1216389.

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21

Norman. "Killing the Crime Novel: Martin Amis's Night Train, Genre and Literary Fiction." Journal of Modern Literature 35, no. 1 (2011): 37. http://dx.doi.org/10.2979/jmodelite.35.1.37.

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22

Camurati, Mireya. "Journeys through the Labyrinth: Latin American Fiction in the Twentieth Century de Gerald Martin." Revista Iberoamericana 57, no. 155 (September 4, 1991): 755–57. http://dx.doi.org/10.5195/reviberoamer.1991.4936.

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23

Scaggs, John. "Crime Fiction and the Armchair Traveler: The Case of Martin Walker's Bruno Courrèges Series." Clues: A Journal of Detection 31, no. 2 (September 1, 2013): 112–21. http://dx.doi.org/10.3172/clu.31.2.112.

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24

Akşehir-Uygur, Mahinur. "Crush Humanity One More Time: Martin McDonagh's The Pillowman in Žižekian Terms." New Theatre Quarterly 33, no. 4 (October 11, 2017): 360–70. http://dx.doi.org/10.1017/s0266464x17000495.

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Martin McDonagh's The Pillowman dramatizes the interrogation and torture of a horror fiction writer, Katurian, whose stories have been re-enacted in ‘real’ life without his knowledge. The audience gradually finds out that the murders are the crimes of Michal, Katurian's mentally retarded brother, who had been physically tortured by his parents in childhood, until Katurian murdered them. Upon Michal's confession, Katurian has to kill his brother to save him from the suffering and torture to come. Subsequently, it becomes clear that the two interrogators also suffer from the violent childhoods they re-enact with the violence they inflict on their suspects. It appears that all kinds of violence in the play are somehow justified, and treated in such a complex way that it becomes hard to draw boundaries between victims and perpetrators. The depiction of violence can, however, also be examined in dimensions that trigger and shape each other: the violence of the totalitarian state directed against the individual and the artist; domestic violence; the fictional violence found in Katurian's stories. Read through Slavoy Žižek's theory of violence, which also highlights the interconnected nature of its several kinds, The Pillowman can be observed to create a panoramic view of its subject. Mahinur Akşehir-Uygur is an Assistant Professor in the Department of English, Manisa Celal Bayar University in Manisa, Turkey. Her areas of interest are satirical literature, contemporary fiction, and women's literature.

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25

Martin, Marie. "Le remake secret : généalogie et perspectives d’une fiction théorique." Cinémas 25, no. 2-3 (March 23, 2016): 13–32. http://dx.doi.org/10.7202/1035770ar.

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Cet article expose la construction d’un cas particulier d’hypertextualité filmique qui, sous le nom de « remake secret », entend rendre compte d’un type de réécriture indexée sur le Traumarbeit : un film source est refait par un film second qui, selon une logique onirique de condensation, de déplacement et de figurabilité, en fait apparaître la part traumatique latente ou refoulée. Inscrite dans le prolongement des travaux d’Anat Zanger (2007) et de Jean-François Buiré (2005), la notion, qui assume d’être une fiction théorique, produit de la spectature, est élaborée par l’auteure à partir des concepts de « figure » de Martin Lefebvre (1997) et de « travail du film » de Thierry Kuntzel (1975). Une étude de cas actualise le modèle : bien qu’adaptation de roman, The Grifters (Les arnaqueurs, Stephen Frears, 1990) est analysé comme remake secret de Psycho (Psychose, Alfred Hitchcock, 1960), reprenant en la déguisant la figure du meurtre sous la douche pour mieux rejouer et accuser, au niveau dramatique et figuratif, les complexes psychiques qui la fondent.

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26

SWANSON, PHILIP. "Gerald Martin, "Journeys through the Labyrinth. Latin American Fiction in the Twentieth Century" (Book Review)." Bulletin of Hispanic Studies 69, no. 2 (April 1992): 208. http://dx.doi.org/10.3828/bhs.69.2.208.

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27

Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.

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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.

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28

Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.

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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.

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29

Eyries, Alexandre. "Jacques Gerstenkorn, Martin Goutte, dirs, Cinémas en campagne. De la chronique électorale à la fiction politique." Questions de communication, no. 23 (August 31, 2013): 418–19. http://dx.doi.org/10.4000/questionsdecommunication.8521.

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30

Güneş, Ali. "The Deconstruction of “Metanarrative” of Traditional Detective Fiction in Martin Amis’s Night Train: A Postmodern Reading." Journal of History Culture and Art Research 7, no. 2 (July 2, 2018): 216. http://dx.doi.org/10.7596/taksad.v7i2.1228.

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31

Moser, Keith. "The Ethical Summons Extended by Le Clézio’s “Martin” and Other Casualties of Peer-Victimization." Janus Head 13, no. 2 (2014): 125–35. http://dx.doi.org/10.5840/jh201413221.

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This interdisciplinary essay investigates J.M.G. Le Clézio’s short story “Martin” from the collection entitled La Fièvre (Fever) from the lens of recent empirical studies related to bullying. The 2008 Nobel Laureate in Literature creates a rending portrait of the physical and cerebral anguish suffered by casualties of peer-victimization. The profound inner turmoil experienced by the protagonist Martin mirrors the searing pain felt by millions of innocent victims around the world on a daily basis. Although the nefarious, long-term effects of bullying are often dismissed by misinformed individuals as a reflection of “boys being boys,” research unequivocally demonstrates that bullying is a global pandemic that should be taken seriously. In this disquieting narrative from the early part of his illustrious career, Le Clézio extends an ethical summons to the reader which compels us to think harder about the dire social consequences of bullying. Specifically, the tragic dénouement leaves little room for ambivalence concerning the author’s position related to the anguish experienced by casualties of peer-victimization. In “Martin,” it is the destabilizing realism that attacks the sensibilities of the reader the most. Although this text is a work of fiction, it deeply resonates with the reader given that deplorable incidents, which leave deep inner scars, like the one described in “Martin” occur far too often all across the globe. When analyzed in conjunction with the disconcerting research compiled by international scholars from around the world, “Martin” is an invaluable tool that allows us to catch a small glimpse of the unbearable torment felt by the victims of these heinous crimes.

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32

Moyle, David. "Beyond the Black Hole: The Emergence of Science Fiction Themes in the Recent Work of Martin Amis." Extrapolation 36, no. 4 (January 1995): 305–15. http://dx.doi.org/10.3828/extr.1995.36.4.305.

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33

Thomas, Keith. "Historians and Storytellers." Common Knowledge 25, no. 1-3 (April 1, 2019): 163–64. http://dx.doi.org/10.1215/0961754x-7299222.

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This guest column comprises both a review of the English translation of Carlo Ginzburg’s book Threads and Traces: True False Fictive (2012) and some general comments on the merits and demerits of microhistory as a genre poised between historical writing and fiction. The column is published in the context of two others regarding this latter topic — one by Natalie Zemon Davis, the author of the microhistorical classic The Return of Martin Guerre, and one by Colin Rich-mond. Davis’s column is a response to Keith Thomas’s having drawn approving attention to the following remark of J. H. Elliott’s: “Something is amiss when the name of Martin Guerre threatens to become better known than that of Martin Luther.” In the present piece, Thomas writes of Ginzburg, a founder of Italian microhistory, that he is more a “European intellectual” than a “mere historian,” the difference being that the former is less interested in history per se than in fields such as anthropology, philosophy, and literary theory. Thomas’s column expresses doubt about the intellectual restlessness of historians like Ginzburg and about the preparation of microhistorians to write constantly on topics new to them, but it claims as well that Ginzburg’s “combination of erudition and piercing intelligence is irresistible.”

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34

Damm, Jens. "Angelwings: Contemporary Queer Fiction from Taiwan. Edited and translated by Fran Martin. [Honolulu: University of Hawai‘i Press, 2003. 248 pp. $18.95. ISBN 0-8248-2661-2.]." China Quarterly 176 (December 2003): 1116–18. http://dx.doi.org/10.1017/s0305741003400635.

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This collection of ten short stories from the 1990s, translated and annotated by Fran Martin, highlights the importance of the topic “queer” in a non-Western context. Not only is the excellent quality of the translation worthy of mention; the familiarity of the author with queer theory, Taiwanese social history and Chinese literature in general is also outstanding.In her detailed introduction, Fran Martin illustrates vividly the relevance of tongzhi-literature (tongzhi wenxue is the expression currently used to describe the same-sex discourse in the Taiwanese world) within the broader transformation of Taiwanese society in general and “in the public discourse on sexualities” in particular (p. 2). She attributes the development of tongzhi-literature and the more recent sub-genre of ku'er-literature (ku'er wenxue or “queer literature”) to the rise of postmodernism (houxiandai zhuyi) in post martial-law Taiwan (p. 4–5).

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35

Mulder, Megan. "A lifetime of fiction: The 500 most recommended reads for ages 2 to 102, by William Patrick Martin." Technical Services Quarterly 33, no. 1 (December 30, 2015): 113–14. http://dx.doi.org/10.1080/07317131.2015.1093867.

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36

Dawson, Gowan. "Mesmerists, Monsters, and Machines: Science Fiction and the Cultures of Science in the Nineteenth Century, by Martin Willis." Victorian Studies 49, no. 3 (April 2007): 513–15. http://dx.doi.org/10.2979/vic.2007.49.3.513.

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37

Wilczyński, Marek. "Miejsca bezpieczne: Kafka, Walser, Schulz." Schulz/Forum, no. 11 (December 3, 2018): 55–63. http://dx.doi.org/10.26881/sf.2018.11.06.

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The paper begins with a reference to Franz Kafka’s unfinished long short story “The Burrow,” which has been chosen as a starting point of a series of intertextual associations focusing on futile efforts made by various modernist literary narrators and characters to find a sense of safety in some specific settings. The route from “The Burrow” runs through selected short stories by Martin Walser toward late fiction by Bruno Schulz, in particular “The Republic of Dreams” and “The Homeland,” revealing affinities connecting the Polish writer from Drogobych with two writers of the German language, who shared his fears and obsessions.

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38

Hrtánek, Petr. "Postmoderní obraz Smrti v románu Martina Komárka Dřevĕná panenka." Slavica Wratislaviensia 168 (April 18, 2019): 373–80. http://dx.doi.org/10.19195/0137-1150.168.31.

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Postmodern image of Death in the novel Dřevĕná panenka by Martin KomárekThe presented analytic-interpretative study deals with the image of Death in the work of fiction Dřevěná panenka Wooden Doll, 1990 by Czech writer Martin Komárek. This book opens the series of four novels published during the last decade of the 20th century in which this author repeatedly returns to the theme of death and dying. This article focuses primarily on the theme of the fight with death and the possibilities of overcoming mortality. The essay pays special attention to the specific modality of Komárek’s work of fiction that is based on intertextual relations mostly on the level of motifs with Gothic novels. The study also registers the grotesque dimension in the personification of death in the form of a terrible doll-puppet, and attempts to interpret the theme of death in Komárek’s novel in the context of postmodern poetics. Postmodernistyczny obraz Śmierci w powieści Martina Komárka Dřevĕná panenkaPrezentowany analityczno-interpretacyjny artykuł dotyczy obrazu Śmierci w powieści Dřevěná panenka Drewniana lalka, 1990 czeskiego pisarza Martina Komárka. Książka ta otwiera serię czterech powieści wydanych w ostatnim dziesięcioleciu XX wieku, w których autor wielokrotnie powraca do tematu śmierci i umierania. W niniejszym tekście badania koncentrują się przede wszystkim na motywie walki ze śmiercią, na jej przezwyciężaniu, dostrzegając jednocześnie cechy wspólne analizowanego dzieła szczególnie na poziomie motywów między innymi z gatunkiem powieści gotyckiej. W artykule zwrócono uwagę na groteskowy wymiar uosobienia śmierci w postaci budzącej lęk lalki-kukiełki. W analizie utworu wzięto również pod uwagę wcześniejszą interpretację tematu śmierci w prozie Komárka w kontekście poetyki postmodernistycznej.

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39

Kociatkiewicz, Jerzy, and Monika Kostera. "Stories from the end of the world: in search of plots for a failing system." Journal of Organizational Change Management 33, no. 1 (November 13, 2019): 66–82. http://dx.doi.org/10.1108/jocm-02-2019-0050.

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Purpose The purpose of this paper is to consider three types of stories: media, personal accounts and fiction, and look for plots depicting situations of fundamental shift in the framing and basic definitions of reality. The authors examine them from the point of view of their usefulness for developing creative responses to systemic change. Design/methodology/approach The authors conducted a narrative study in three stages, aimed at identifying strong plots pertaining to systemic change. The analyzed material came from three different sources of narratives (fiction, media and creative stories) and was approached by the use of two different narrative methods: symbolic interpretation and narrative collage. Findings Currently many voices are being raised that the authors are living in times of interregnum, a period in between working systems. There is also a mounting critique of the business school as an institution perpetuating dysfunctional ideologies, rather than enhancing critical and creative thinking. The authors propose that the humanities, and, in particular, learning from fiction (and science fiction) can offer a language to talk about major (systemic) change help and support learning about alternative organizational realities. Research limitations/implications The study pertains to discourse and narratives, not to material aspects of culture construction. Practical implications Today, there is a mounting critique of business schools and their role in society. Following Martin Parker’s call to transform them into schools of organizing, helping to develop and discuss different alternatives instead of reproducing the dominant model, the authors suggest that education should be based, to much larger extent than until now, on the humanities. The authors propose educational programmes including the study of fiction and film. Social implications The authors propose that the humanities (and the study of fiction) can equip society with a suitable language to discuss and problematize systemic change. Originality/value This paper adds to narrative social studies through providing an analysis of strong plots showing ways of coping with systemic collapse, and through an examination of these plots’ significance for organizational education, learning, and planning. The authors present an argument for the broader use of fiction as a sensemaking, teaching, and learning tool for managing organizations in volatile environments.

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Swenson, Kristine. "Review of Martin Willis and Catherine Wynne, eds., Victorian Literary Mesmerism and Martin Willis, Mesmerists, Monsters, and Machines: Science Fiction and the Cultures of Science in the Nineteenth Century." Nineteenth-Century Literature 62, no. 2 (September 1, 2007): 288–93. http://dx.doi.org/10.1525/ncl.2007.62.2.288.

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Maczynska, Magdalena. "This Monstrous City: Urban Visionary Satire in the Fiction of Martin Amis, Will Self, China Miéville, and Maggie Gee." Contemporary Literature 51, no. 1 (2010): 58–86. http://dx.doi.org/10.1353/cli.0.0096.

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Haiger, Ernst. "Fiction, Facts, and Forgeries: The “Revelations” of Peter and Martin Allen about the History of the Second World War." Journal of Intelligence History 6, no. 1 (June 2006): 105–18. http://dx.doi.org/10.1080/16161262.2006.10555127.

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Ibrahim, Juan A. "Modernity, Mass Culture, and Self-Delusion in Nabokov’s Lolita and Martin Amis’ Money." Koya University Journal of Humanities and Social Sciences 3, no. 1 (June 23, 2020): 94–101. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp94-101.

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Vladimir Nabokov’s Lolita (1955) and Martin Amis’ Money (1984) discuss the disadvantages of mass media. Amis uses John Self to reflect the disintegration of the self in the modern, Capitalist society of England in 1980s. Self represents the failure of the postmodern world by portraying a dystopian society. Amis and Nabokov tackle subjects pertaining to money, incest, delusion, and disappointment. Lights are shed on the moral aspect of the characters. The modernity of Amis’ fiction lies in its double deception of its characters; there is the American motif and a character who is not able to resist the magic of such motif. It is about consumerism or how aspects of post modernity and the consumer culture are portrayed. This paper aims to show the impact of mass media on the characters who are self-deluded and indulged in loving money, advertisements, and sex. It also aims at showing duality and corruption in both texts, John Self is bankrupt and wants to commit suicide. Humbert cheats many and is imprisoned and Lolita dies. Lolita becomes the victim of incest. It is an attempt to urge human beings to refuse cultural divisions and encourage human spirituality instead of Materialistic point of view.

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Gami, Loran. "PARODY AND METAFICTIONALITY AS DEFAMILIARIZATION DEVICES IN MARTIN AMIS’S NOVEL MONEY: A SUICIDE NOTE." Folia linguistica et litteraria XII, no. 35 (2021): 45–61. http://dx.doi.org/10.31902/fll.35.2021.3.

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The article discusses the way defamiliarization is achieved in Martin Amis’s novel Money: A Suicide Note (1984) through parody, the comical perspective, and the metafictional elements. In the introduction the concept of defamiliarization is briefly explained while the first section describes the use of parody in the novel. Amis’s book parodies several literary techniques and is also a parody – as well as a critique – of the 1980s Britain and America, especially its consumerist ethos. By adopting a comical perspective, Amis creates a distancing effect between himself and the novel’s protagonist, John Self. He is an unreliable and unlikable narrator and often his description borders on the grotesque, which also adds to the defamiliarization effect. The metafictional elements in the novel, discussed in the second section, are also important and they contribute to the distancing effect, by defamiliarizing what is commonly expected from a work of fiction. One of the most important metafictional (or self-referential) elements is the inclusion of the author as a character in the novel. This technique encourages the reader to re-evaluate the relation the author has with their own work, which is now seen from a defamiliarized perspective

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Costa, Cynthia Beatrice. "An Ironic Overlay: The Use of Voice-Over Narration in The Age of Innocence, by Martin Scorsese." Adaptation 13, no. 2 (November 30, 2019): 161–75. http://dx.doi.org/10.1093/adaptation/apz022.

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Abstract Often praised for its cinematic artistry and faithfulness to the homonymous novel (Edith Wharton, 1920), The Age of Innocence (Martin Scorsese, 1993) is sometimes seen, however, as a reminder of the perils of voice-over narration in fiction films (Herman). By examining its use in relation to notions of novel adaptation (Whelehan; Leitch) and approaching irony in the film as a rhetorical device (Booth; Hutcheon; MacDowell), this article counterpoints the opinion (Travers; Cahir) that the voice-over narration might have decreased the dramatic potency of Scorsese’s work. In doing so, two main hypotheses emerged: (1) displaying a voice that purposefully invokes the novel’s author might have enhanced the degree of association between adaptation and source material, and (2) in deepening the viewers’ understanding of certain scenes by revealing inside information, the voice-over adds an ironic overlay to the film.

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Taberner, Stuart. "The Meaning of The Nazi Past in The Post-Postwar: Recent Fiction by Günter Grass, Christa Wolf and Martin Walser." Seminar: A Journal of Germanic Studies 50, no. 2 (May 2014): 161–77. http://dx.doi.org/10.3138/sem.50.2.161.

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Lovesey, Oliver. "George Eliot's Serial Fiction, and: George Eliot and the Conflict of Interpretations: A Reading of the Novels by Carol Martin." Victorian Review 21, no. 2 (1995): 189–93. http://dx.doi.org/10.1353/vcr.1995.0004.

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Plum, Jay. "Accounting for the Audience in Historical Reconstruction: Martin Jones's Production of Langston Hughes's Mulatto." Theatre Survey 36, no. 1 (May 1995): 5–19. http://dx.doi.org/10.1017/s0040557400006451.

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Although Langston Hughes's Mulatto holds the record as the second longest Broadway production of a play by an African American playwright (surpassed only by Lorraine Hansberry's A Raisin in the Sun), the reasons behind its commercial success have been virtually ignored. This oversight in part reflects a tendency among theatre scholars to treat the dramatic text as the primary (if not the only) source of a play's meaning. In the case of Mulatto, academic critics have debated its literary merit according to questions of form and genre. Webster Smalley, in his introduction to the collected plays of Langston Hughes, for instance, defends Mulatto as a tragedy, arguing that the play avoids the tendency of social dramas of the 1930s “to oversimplify moral issues as in melodrama” because of the recognition of Bert's “tragic situation” (he must kill himself or be killed by an angry lynch mob). For those critics who insist that Mulatto is melodramatic, Smalley advises, “let [them] look to the racial situation in the deep South as it is even today [i.e., 1963]: it is melodramatic.” Smalley presupposes a dichotomous relationship between fiction and reality, advancing a mimetic theory in which representation directly corresponds to the real. Rather than answering specific charges, he defines contemporary race relations as melodrama, implying that Mulatto, even if melodramatic, is “natural” and “accurate.”

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Chester, Stephen. "It is No Longer I Who Live: Justification by Faith and Participation in Christ in Martin Luther's Exegesis of Galatians." New Testament Studies 55, no. 3 (May 28, 2009): 315–37. http://dx.doi.org/10.1017/s002868850900023x.

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Traditional Protestant accounts of Paul's theology are often criticized for their inability to relate justification by faith and the participatory categories of Paul's thought. The two are driven apart by sharp distinctions between declaring and making righteous, between justification as a once for all external act and regeneration as an internal lifelong process. The way is left open for justification to be treated as a legal fiction. Contrary to popular misconceptions, these difficulties do not stem from Martin Luther. In his exegesis of Paul, Luther intimately connects justification by faith and participation in Christ, integrating the two effectively. This article explores the manner in which Luther does so, evaluating his exegetical conclusions and assessing their relevance for contemporary attempts to interpret Paul's theology.

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Stone, Albert E. "The Return of Nat Turner in Sixties America." Prospects 12 (October 1987): 223–53. http://dx.doi.org/10.1017/s0361233300005597.

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One of the less publicized public events of that annus mirabilis 1968 was the annual meeting in November of a venerable academic institution, the Southern Historical Association. Convened in New Orleans was a group of intellectuals knit together by, among other professional ties, a common preoccupation with the Southern past. Prominent among these was C. Vann Woodward of Yale, arguably America's most eminent historian of the South. Also present were three famous novelists: Robert Penn Warren, Ralph Ellison, and William Styron. All native-born Southerners (if Oklahoma City, Ellison's birthplace, qualifies as a Southern city), they were there as participants in a panel, chaired by Woodward, on “The Uses of History in Fiction.” The session took place on November 6, the day after the election of Richard Nixon and seven months and two days after the assassination of Martin Luther King, Jr. It was probably the liveliest, best-attended event of an otherwise staid meeting of professors. Much of the interest was generated by the topic and the distinguished panelists, but additional electricity was contributed by a cluster of young blacks in the audience. As passionately interested in the subject as were those on the platform, they were in attendance chiefly to question and challenge Styron. It was his use of history in fiction upon which much of the evening's discussion devolved.

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