Journal articles on the topic 'Duchies, fiction'
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1
Mašek, Petr. "Zámecká knihovna Nové Syrovice." Acta Musei Nationalis Pragae – Historia litterarum 67, no. 1-2 (2022): 62–65. http://dx.doi.org/10.37520/amnpsc.2022.008.
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The Nové Syrovice Castle library was collected by the Counts of Nimptsch, in particular Count Johann Heinrich von Nimptsch (1723–1806) and Count Karl von Nimptsch (1803–1869), and it also contains traces of the library of the Counts Marcolini. A later part of the collection was added by the Counts of Stubenberg. What is interesting is the manuscript collection, including a set of plans and drawings depicting the Hungarian fortress of Eger (Erlau) and the legal norms applicable to the duchies of Silesia. Works coming from the 16th century were mainly written by ancient authors. Early printed books are mostly in French and Latin, to a lesser extent in German, and occasionally in other languages, such as English. In addition to fiction, the library comprises numerous works of law, history, and French scientific publications. The collection contains relatively few 19th-century books; 20th-century works are completely absent, having been discarded in the 1950s.
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Yosugandi, Evan Marchel, and Hendra Kaprisma. "Historical figures in “Fate/Grand Order”: adapting Anastasia Romanova." RUDN Journal of Studies in Literature and Journalism 28, no. 4 (December 15, 2023): 712–23. http://dx.doi.org/10.22363/2312-9220-2023-28-4-712-723.
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Historical events and figures tend to escape people’s memory as time goes by. In some cases, they are replaced by popular culture adaptations, e.g., video games, fiction, films, etc. Such adaptations may be beneficial to historical memory, preserving their historical models for posterity. Sometimes, adaptation become part of fictional history. “Fate/Grand Order” is a game released by Type-Moon in 2015 (Japan). Its fictional universe makes an active use of various characters of folklore and history, e.g., Joan of Arc, King Arthur, etc. The aim of the study is to examine the adaptation of Anastasia Romanova in the game “Fate/Grand Order”. The adaptation analysis scheme proposed by Linda Hutcheon, as well as the comparative method to cross-reference dialogs, illustrations, skills, craft essence in the game with photographs and biography of the real Anastasia Romanova were used. It is proved that Anastasia the Duchess of the Permafrost Empire from “Fate/Grand Order” is indeed an adaptation of the real Anastasia Romanova, the fourth daughter of the last Russian Emperor Nicolas II, although somewhat modified to match the traditional imagery of the Japanese popular culture.
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Lojo Rodríguez, Laura María. "Contradiction and ambivalence : Virginia Woolf and the aesthetic experience in "The Duchess and the Jeweller"." Journal of English Studies 3 (May 29, 2002): 115. http://dx.doi.org/10.18172/jes.73.
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In the midst of the terror waged on Europe by Nazi demonstrations of power and racial extermination Virginia Woolf published a most contrevorsial short story -"The Duchess and the Jeweller" (1938)- which was originally entitled "The Duchess and the Jew" but was changed at the request of Woolf's American publisher for its racist connotations. The story has been neglected by the critics on account of two major reasons: on the one hand, it does not partake of those innovative narrative devices that most of Woolf's fiction presents; on the other such an apparently Anti-Semitist piece of work is inconveniently at odds with the oeuvre of a writer who so ardently and energetically rejected Fascism in her pamphlet Three Guineas which was curiously simultaneous in date of composition and publication to "The Duchess and the Jeweller". Despite the fact that Woolf may have been airing her personal prejudices of race and class in the characters of Oliver Bacon and the Duchess of Lambourne, the present paper does not aim to do away with such incoherence, ambivalence and contradiction, but rather focuses on the jewel imagery which structures the narrative and which addresses questions such as the 'art for art's sake' doctrine versus the material commodity of beauty
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Dabbagh, Tara. "Intertextuality in Tragedy and Crime Fiction in Shakespeare’s Othello, Webster’s The Duchess of Malfi, Christie’s Curtain and Sleeping Murder." Al-Adab Journal, no. 128 (March 15, 2019): 77–96. http://dx.doi.org/10.31973/aj.v0i128.417.
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Christie maneuvers the storylines of Shakespeare’s Othello (c. 1604) and Webster's The Duchess of Malfi (1613/14) into crime fiction in, respectively, Curtain (1975) and Sleeping Murder (1976), establishing the actions of certain characters as patterns of behavior. Yet, despite the similarities in the four texts, and in accordance with the requirements of her genre, she does not allow the resulting structuralist intertextuality diminish the suspense in her stories. Unlike the tragedies which aim at emotional involvement, her two books
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Levy, Michael. "The Duchess of MalfiRevisited: J. R. Dunn's Science Fiction Revenge Tragedy." Extrapolation 43, no. 4 (January 2002): 456–64. http://dx.doi.org/10.3828/extr.2002.43.4.7.
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Landais Choimet, Monique. "problèmes sociaux révélés par la fiction critique française contemporaine : Cora dans la spirale de Vincent Message." Anuario de Letras Modernas 27, no. 1 (June 10, 2024): 56–72. http://dx.doi.org/10.22201/ffyl.26833352e.2024.27.1.1932.
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Faisant suite au projet de recherche réalisé entre 2019 et 2021, La Littérature de terrain qui vise à réparer le monde, le présent article propose une lecture sociocritique d’un roman contemporain intitulé Cora dans la spirale (2019) de Vincent Message. Il convient de préciser l’emphase mise sur la démarche méthodologique afin de faciliter une future application de cette approche sociocritique pour tout lecteur à d’autres textes. Dans un premier temps, il s’agit d’élaborer un cadre théorico-critique qui fournisse les définitions des concepts-clé adaptés à ce récit littéraire : sociogramme, sociotexte/chronotope, médiations discursives et sociales qui concernent le domaine littéraire ainsi que deux autres critères fondamentaux pour la présente analyse, habitus et imaginaire social, empruntés à la sociologie. Ce référent définitionnel s’appuie sur l’apport de sociocriticiens et sociologues tels que Claude Duchet, Patrick Maurus, Pierre Popovic, Anthony Glinoer et Pierre Bourdieu, ou bien sur d’autres penseurs, François Hartog et Dominique Viart, entre autres, dans le but de nourrir notre lecture grâce à l’appropriation de catégories provenant d’autres disciplines. Dans un deuxième temps, ce même paradigme conceptuel sous-tend la lecture afin de révéler les rouages sociaux-économiques sous-jacents qui perturbent profondément l’existence des protagonistes. À ceci, il faut ajouter que l’approche proposée se veut ouverte et perfectible ainsi que le souhaite la sociocritique au pluriel, personnelle et collective, hétérogène et internationaliste. Mots-clés : approche sociocritique, démarche méthodologique, romans contemporains, dialogues interdisciplinaires, Claude Duchet, lecture ouverte, rouages socio-économiques.
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Mann, Jenny C. "“Framed in Wax”: Fiction as Artificial Experience in The Duchess of Malfi." English Literary Renaissance 52, no. 3 (September 1, 2022): 413–25. http://dx.doi.org/10.1086/721065.
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Candel, Daniel. "Systematizing evil in literature: twelve models for the analysis of narrative fiction." Semiotica 2021, no. 242 (August 13, 2021): 141–68. http://dx.doi.org/10.1515/sem-2020-0071.
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Abstract While there are interesting connections between literature and evil, there is as of yet no systematic collection of models of evil to study literature. This is problematic, since literature is among other things an evaluative discourse and the most basic evaluative category is the polarity of good versus evil. In addition, evil shows important affinities with basic narratological principles. To initiate a discussion of models of evil for the analysis of literature, this article organizes a dozen models of evil into four groups. The first consists of a core model which coincides with basic narratological elements in character analysis and narrative tension. The second group contains two pre-modern models of evil, defilement and moral-natural evil. The third group takes its cue from personality theory and proposes the five-factor model of personality and an enriched “dark triad,” and, to balance description against narration, a model which categorizes kinds of murder. The last group organizes six models around the thematic opposition between nature and society, an opposition which forms the backbone of Western philosophy and narrative. To test their validity, the models are applied to a series of literary examples/characters, above all Grendel (Beowulf), Browning’s “My Last Duchess,” and Carol Oates’ short story “Heat.”
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Vidal, Hélène. "Between Sensibility and History: The Count de Rethel (1779) by Georgiana Spencer Cavendish, Duchess of Devonshire." Humanities 13, no. 4 (July 26, 2024): 101. http://dx.doi.org/10.3390/h13040101.
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The Count de Rethel: An Historical Novel (1779) can be ascribed to Georgiana Spencer Cavendish, Duchess of Devonshire (1757–1806) as a translation of Anecdotes de la cour de Philippe-Auguste (1733) by Marguerite de Lussan. The action is set at the court of Philip II of France, known as Philip Augustus, at the time of the war with King Henry II and the Crusade with Richard I, known as the Lionheart. This inspired revival of fictionalised medieval history heralding romanticism in the age of sensibility refashions the codes of chivalry according to the aesthetics of the second half of the eighteenth century. This essay focuses on the interplay between fiction and history, between the present of writing and the rewriting of history through Cavendish’s translational prism, featuring the Middle Ages as a golden age of heroism and the Count de Rethel as a paragon of ancient virtue set against contemporary men of fashion.
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Decker, John R. "Aid, Protection, and Social Alliance: The Role of Jewelry in the Margins of theHours of Catherine of Cleves." Renaissance Quarterly 71, no. 1 (2018): 33–76. http://dx.doi.org/10.1086/696888.
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AbstractThis article examines five miniatures in the “Hours of Catherine of Cleves” (completed 1442), each containing representations of jewelry in the margins, which operate on two different levels. First, they demonstrate Catherine of Cleves’s adoration of five female saints. I argue that the fictive jewelry may be understood as simulated ex-votos designed to secure the aid and protection of the saints. Second, the images establish strategic alliances with each saint. As a final dimension, I explore how the vitae of these saints may have had resonances for the duchess that help explain the focus placed on them in the manuscript.
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Duda, Katarzyna. "Tożsamość vs uniformizacja (współczesna literatura rosyjska – studium dwóch przypadków)." Politeja 19, no. 3(78) (November 25, 2022): 5–16. http://dx.doi.org/10.12797/politeja.19.2022.78.01.
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IDENTITY VS UNIFORMIZATION (CONTEMPORARY RUSSIAN LITERATURE – STUDY OF TWO CASES)
The aim of the following article is to consider expressions such as “identity” and “uniformization” which are often used in Russian philosophy as well as in contemporary Russian fiction. Two well-known novels translated into Polish language: “Medea and her Children” by Ludmyla Ulitzkha and “Duchless. A Story about Unreal Man” by Sergiey Minayev were chosen as examples. The first of them takesplace in the 1970’s, whereas the second one is set in the present day. In both cases identity is considered in the context of human relationships and the attitude to other people and at the same time to culture and tradition. Identity is usually based on certain determinants. These are: faith in God, the respect for different confessions, proximity to the nature, care for preservation of heritage including memory about the past and native language. Medea follows this hierarchy of values in her life. The identity of an anonymous hero of Minayev’s book was destroyed by globalizing processes, uniformization, boredom and by addiction to the Internet.
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Mašek, Petr. "Knihovny na zámku Konopiště." 66-1-2 66, no. 1-2 (2021): 79–86. http://dx.doi.org/10.37520/amnpsc.2021.006.
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The first library at Konopiště Castle was built by František Karel Přehořovský of Kvasejovice at the turn of the 18th century, but it was later scattered and its traces can be found in various places. After the sale of the castle in 1887, the second library, established by the counts of Wrtba, was moved to Křimice Castle. The current library was founded by the new owner of the castle, Archduke Franz Ferdinand of Austria. He had brought to Konopiště an older library created by the counts of Fünfkirchen and the counts of Stadion-Warthausen from Chlum Castle near Třeboň. He also added the library of his father, Archduke Karl Ludwig. Franz Ferdinand received a number of books as gifts from their authors. He supplemented some fiction books with evaluation notes. The library contains legal, political and historical works, especially on the history of Austria and the Habsburg dynasty, as well as works on hunting, natural sciences and militaria. It can be assumed that the library was also enriched by his wife Sophie, Duchess of Hohenberg, and their children, who signed mainly textbooks and works for youth.
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SARHAN, QASSIM SALMAN, and Manaar Sa'eed. "Dream Vision in Chaucer's Poetry." Kufa Journal of Arts 1, no. 19 (September 29, 2014): 9–30. http://dx.doi.org/10.36317/kaj/2014/v1.i19.6404.
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Dream vision is an important and well _ known medieval narrative genre in poetry . The basic framework is that the confused narrator falls asleep and dreams , then his dream will be the main story. The dream often takes the form of allegory , enigmatic , and it needs a kind of interpretation on the part of the reader .After the troubled narrator is awakened , he determines to write his dream in a poem . 1 Dream vision poetry has an impressive and extensive image, which has been widely commented upon . Falling asleep, dreaming , dream vision , prophetic visitations and oracular guidance are familiar motifs from a number of widely known literary sources , like for example in the Bible , Greek and Latin classics , continuing in to the late antiquity and in to the medieval period . 2 Dream visions have important elements in common , firstly, all dream visions are written in the first person . The narrator becomes the dreamer and tells the story as his own experience . Sometimes , the dreamer becomes the protagonist of the dream fiction , and other times , he is only an observer as in Chaucer 's Book of the Duchess .3
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Mansilla, Fernando Rodríguez. "La media rota de Alonso Quijano: Desengaño y cortesía en el episodio de los duques." Cervantes 34, no. 1 (March 2014): 97–119. http://dx.doi.org/10.3138/cervantes.34.1.097.
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This article analyzes the Duke and Duchess episode of part two of Don Quijote, paying particular attention to the role of courtesy as shaped in manuals like the Galateo español that were popular in early modern Spain. In this episode, Cervantes develops a critique of the discourse of courtesy that is also present, from a satirical and moralistic perspective, in the picaresque genre. These chapters from the second part reveal the intense interaction-a product of early modern social tensions-between Cervantes's fictional parody and the restrictive discourse contained in the Galateo español and other manuals. Considering Cervantes's literary production, as well as his relationship to the noblemen from whom he sought patronage and protection, it is evident that Cervantes was disillusioned by the courtly world and that he expressed his disenchantment with this world in the second part of Don Quijote.
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Kluger, Johanna. "Post-Trump masculinity in popular romance novels." Neohelicon, March 11, 2024. http://dx.doi.org/10.1007/s11059-024-00731-2.
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AbstractAs an almost exclusively female-dominated medium, the popular romance novel has, throughout its history, allowed women writers to “amplify their political voice” (Teo, 2016, p. 102), especially when they could not actively participate in politics. Commonly, writers fashion storylines that reflect and process concerns from the real world in a fictional context. Using the Regency Romance as an example and based on Jayashree Kamblé’s theory that romance novels have a shared DNA that evolves in response to social and cultural influences, this paper first defines the figure of the romance hero in the pre-Trump era to segue into analysing selected novels published by Tessa Dare in 2011 (A night to surrender) and Sarah MacLean in 2012 (A rogue by any other name). This figure is then compared and contrasted with the incarnations of the hero in these authors’ publications from 2017 (The day of the duchess by MacLean) and 2019 (The wallflower wager by Dare) to map how his phenotype has evolved to reflect a shift in cultural perceptions regarding sex and sexual power dynamics. As I intend to show, in the wake of the 2016 US presidential election and the “#MeToo” movement, the new hero’s phenotype differs specifically in the expression of gendered power and sexuality. He is less forceful than his predecessors and places heavy emphasis on the heroine’s enthusiastic consent and pleasure.
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Глинский, Е. С. "Legends on the «Muscovite» origins of several szlachta dynasties in the historical discourse of the Grand Duchy of Lithuania in the 17th—18th century." Istoricheskii vestnik, no. 33(2020) (December 10, 2020). http://dx.doi.org/10.35549/hr.2020.2020.33.010.
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Легенды о происхождении и корнях шляхетских родов являлись важной частью самосознания высшего сословия Великого Княжества Литовского (и Речи Посполитой в целом) в XVII–XVIII вв. Среди потенциальных вариантов интерпретации ранней родовой истории в источниках (гербовники, панегирики, акты и судебные материалы) фиксируется мотив прибытия рода в ВКЛ из Москвы или подконтрольных ее территорий. В большинстве случаев такие родословия имели фиктивный характер и создавались для того, чтобы компенсировать недостаточно знатное действительное происхождение. Для мелкой, часто безземельной шляхты апелляция к «московскому» происхождению могла становиться важным аргументом для подтверждения принадлежности к шляхетскому сословию. В свою очередь, для представителей государственной и локальных элит ВКЛ идея выезда из Москвы в Литву должна была демонстрировать лояльность и преданность по отношению к польским королям и великим князьям литовским, а также заслуги перед Речью Посполитой. В данном контексте подчеркивание московских корней соединялось с акцентом на занятии родом на протяжении многих поколений важных государственных должностей. Несмотря на многочисленные войны между Речью Посполитой и Российским государством, упор на «московское» происхождение был вполне приемлем для генеалогического дискурса ВКЛ, хотя и не являлся наиболее популярным вариантом для конструирования родового прошлого. Legends on the «Muscovite» origins of several szlachta dynasties in the historical discourse of the Grand Duchy of Lithuania (and in the Polish-Lithuanian Commonwealth) in the 17th—18th century. Among the potential interpretations of the early dynastic histories in recorded sources (armorials, panegyrics, legal acts and court materials) one finds a recurring motif of a family claiming its ancestors came to the Great Principality/Grand Duchy of Lithuania from Moscow or Muscovite-controlled lands. In the majority of cases, these dynastic histories had a fictional character and was created in order to compensate a pedigree that lacked noble origins. For the lesser and often landless szlachta the appeal to «Muscovite» family origins could become an important argument when seeking to confirm one’s place amidst the szlachta class. In turn, the idea of leaving Moscow and moving into Lithuania, in the eyes of the Grand Duchy’s state and local elites of the was called to demonstrate the loyalty towards Polish Kings and Lithuanian Grand Dukes, as well as to the Polish-Lithuanian Commonwealth as a whole. In the given context the accent on the Muscovite roots came hand in hand with a family’s claim at a centuries’ long occupation in state service. Despite numerous wars between Russia and the Polish-Lithuanian Commonwealth, «Muscovite» origins were seen as a perfectly acceptable and solid argument in the genealogical discourse of the Grand Duchy of Lithuania, even though it wasn’t the most popular pillars in the construction of local family histories.