Journal articles on the topic 'Fictional trilogy'
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1
Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Jurnal POETIKA 5, no. 1 (July 31, 2017): 37. http://dx.doi.org/10.22146/poetika.25810.
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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Poetika 5, no. 1 (July 31, 2017): 36. http://dx.doi.org/10.22146/poetika.v5i1.25810.
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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Kostova – Panayotova, Magdalena. "Danilo Kish's Fictional Self аnd the Father's Figure („Garden. Ashes“ and „Hourglass“)." Balkanistic Forum 30, no. 3 (October 5, 2021): 262–72. http://dx.doi.org/10.37708/bf.swu.v30i3.14.
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The article examines two novels from the trilogy of Danilo Kish ("Early Care", "Garden, ashes" and the Hourglass) - a writer and essayist, the descendant of a Hungarian Jew and a Montenegrin mother. Both in his novels and in his essays and short stories, the centre of many cultures and identities, a follower of Kafka, Joyce, the Tick and whose main themes always carry the shade of nostalgia, the marks of the vanished world, which is experienced as the only thing dear to the artist. The theme of the disappearing world of Hungarian Jews is told from three different points of view in the trilogy. For the unfortified Self in the trilogy, the disappearance of the father is connected with the wavering of the identity, with the search for grounds for the very existence. From the narration of horror, the apocalyptic crack of life and meaning, the lurking death that transcends everything because it is finality. But amid the devastation and doubt of the written word, there remains the hope that the story provokes the reader, outlining the space and giving meaning to pain, sacrifice and death.
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Wehling-Giorgi, Katrin. "“Splendid Little Pictures”: Leibnizian Terminology in the Works of Samuel Beckett and Carlo Emilio Gadda." Samuel Beckett Today / Aujourd'hui 22, no. 1 (October 1, 2010): 341–54. http://dx.doi.org/10.1163/18757405-022001024.
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Monadic spaces inhabit a significant number of both Beckett's and Gadda's narrative spaces. The refashioning and distortion of the Leibnizian concept of the monad in their oeuvres brings to light some essential features of both authors' critique of the traditional, unitary notion of the self. Indeed, the divergences which transpire in the reinterpretation of the rationalist concept of individual substance reveal a fascinating parallel relating to the fragmentation of subjectivity in both authors' writings. In this context, particular attention will be given to Gadda's early theoretical and fictional writings and Beckett's fiction up to the French Trilogy.
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Kornacki, Krzysztof. "Tworzenie obrazu przeszłości w trylogii robotniczej Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 77–92. http://dx.doi.org/10.14746/pt.2017.27.8.
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Observing the process of the birth of Man of Marble – Man of Iron – Wałęsa. Man of Hope trilogy we can clearly see the author’s increasing tendency to render movie fiction real, in the sense that fiction should be treated as reality, as its equivalent. In the two first films in the trilogy, what is visible is the intensified blurring of the lines between fiction and reality, substituting what is fact with something concocted. What we can also see here is a tendency to boost the credibility of a fictional story, thanks to the use of conventions and documentary materials. Gradual changes made in the sphere of art were connected with the director’s public activities, in which he gradually crossed the boundaries not only of social, but also political praxis. Moreover, in creating the trilogy we can see a voluntaristic trend to perceive the past as the history of “great men” and to canonize the glorious image of history. All these tendencies were expressed in the latter work. Wajda completed this as a clear response to political moves by certain politicians and historians attacking Wałęsa. Preparing a movie about him, he approached verification of historical data with a single-minded attitude. Thus in this film we can observe “true fabrications”. Wałęsa pervades the story, and there is no room for other important figures in the historical process. Additionally, in order to create an imagined, idealistic image of Wałęsa (“Wałęsa 2.0”), the actor playing this role “expels him” from the archive material.
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Major, Laura. "Fictional Crimes/Historical Crimes: Genre and Character in Philip Kerr’s Berlin Noir Trilogy." Genealogy 3, no. 4 (November 14, 2019): 60. http://dx.doi.org/10.3390/genealogy3040060.
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This paper will explore Philip Kerr’s Berlin Noir trilogy, composed of March Violets (1989), The Pale Criminal (1990), and A German Requiem (1991), discussing the overlap and blurring of generic boundaries in these novels and the ability of this form to reckon with the Holocaust. These detective stories are not directly about the Holocaust, and although the crimes investigated by the mordant Bernie Gunther are fictional, they are interweaved with the greater crimes committed daily by the Nazi Party. The novels are brutally realistic, violent, bleak, and harsh, in a narrative style highly appropriate for crime novels set in Nazi Germany. Indeed, with our knowledge of the enormity of the Nazi crimes, the violence in the novels seems not gratuitous but reflective of the era. Bernie Gunther himself, who is both hard-boiled protagonist and narrator, is a deeply flawed human, even an anti-hero, but in Berlin, which is “alive” as a character in these novels, his insights, cloaked in irony and sarcasm, highlight the struggle to resist, even passively, even just inside one’s own mind, the current of Nazism. Although many representations of the Holocaust in popular fiction strive towards the “feel good” story within the story, Kerr’s morally and generically ambiguous novels never give in to this urge, and the solution of the crime is never redemptive. The darkness of these novels, paired with the popularity of crime fiction, make for a significant vehicle for representing the milieu in which the Holocaust was able to occur.
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Tóth, Zsuzsanna. "Mirror-Images, or Love As Religion in Philip Pullman’s Trilogy, His Dark Materials." Romanian Journal of English Studies 10, no. 1 (March 1, 2013): 293–301. http://dx.doi.org/10.2478/rjes-2013-0028.
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Abstract Philip Pullman retells mankind’s archetypal memories of the Fall in his fantasy trilogy, His Dark Materials. I aim to prove that the age-old religious desire for the oneness of the sacred and the profane, as well as of spirit and matter is manifested in Pullman’s fictional mythology in a way that religion and love also turn out to be one.
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Bender, Elżbieta. "La raíz rota de Arturo Barea: destiempo ficcionalizado y autobiografía figurada." Estudios Hispánicos 26 (November 15, 2018): 17–26. http://dx.doi.org/10.19195/2084-2546.26.3.
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Arturo Barea’s The Broken Root: fictional destiempo and imagined autobiographyThe Broken Root by Arturo Barea — a novel in which the author imagines the return to his homeland after ten years in exile — is considered a fictional continuation of the famous autobiographical trilogy The Forging of a Rebel. The analysis of The Broken Root and the knowledge of Barea’s biography allow for the observation that in the novel the so-called destiempo, that is the sense of strangeness experienced by the migrants returning home, is fictional. The protagonist — Antolin — a persona inspired by the writer himself, allows the author to “experience”, or actually to imagine his meeting with the family that remained in Spain. In this way he creates a hypothetical / imagined autobiography that helps him overcome the longing for homeland and the sense of guilt over abandoning the family. The events are fictional, yet probable, but the feelings expressed by the protagonist seem to reflect the real feelings of the author.
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Lytvyn, O. M. "FICTIONAL PECULIARITIES OF VSEVOLOD NESTAIKO’S PROSE FOR CHILDREN (ON THE BASIS OF THE NOVEL “TOREADORY Z VASIUKIVKY”)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 439–46. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-439-446.
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The article examines the issue of peculiarities of the authorial style. The principal attention is focused on compositional, landscape, pedagogic characteristics. The problem of creating images in the trilogy by Vsevolod Nestaiko takes an important place.
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Cruz, Talita Mochiute. "Coetzee lendo Beckett." Eutomia 1, no. 20 (February 19, 2018): 92. http://dx.doi.org/10.19134/eutomia-v1i20p92-99.
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Este artigo discute brevemente como J.M. Coetzee em seus textos críticos lê a obra de Samuel Beckett, a fim de refletir a respeito do trânsito entre o trabalho ficcional e acadêmico desse escritor sul-africano. Ao percorrer a visão de Coetzee crítico, pretende-se situar o lugar de Beckett na trilogia coetzeeana Cenas da vida na província, principalmente para a constituição da(s) voz(es) narrativa nesse projeto autobiográfico ficcionalizado.Palavras-chave: J.M. Coetzee; Samuel Beckett; romance contemporâneo; voz narrativa; literatura comparada. Abstract: This article briefly discusses how J. Coetzee in his critical texts reads the work of Samuel Beckett in order to reflect on the relations between the fictional and academic work of this South African writer. In going through the critical vision of Coetzee, it is aimed to situate Beckett's place in Coetzeean trilogy, Scenes from Provincial Life, mainly for the constitution of the narrative voice(s) in this fictionalized autobiographical project.Keywords: J.M. Coetzee; Samuel Beckett; contemporary novel; narrative voice; comparative literature.
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KAYA, Ahmet. "TYPES IN THE NOVEL "A WEDDING NIGHT"." RIMAK International Journal of Humanities and Social Sciences 04, no. 02 (March 1, 2022): 417–25. http://dx.doi.org/10.47832/2717-8293.16.27.
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One of the most important authors of Turkish literature, Adalet Ağaoğlu, the second book in the Dar Zamanlar trilogy, tells the social transformation of the country by focusing on the inner world of the characters. A Wedding Night; describing the people of the period on the brink of social, political, political and historical events; this is a novel that shows us the identity conflict that these people experience. Adalet Ağaoğlu has an important place among contemporary novelists. In his novels, he examined the time period starting from the first generations raised by the Republic until the 1980s, the structure of the society, and the unrest in life and made the subject of his novels. The phenomenon of time in the aforementioned trilogy of Adalet Ağaoğlu, who made time the most important figure of her novels, has been evaluated in terms of the logic of fiction and types. The types in the study constitute the essence of the subject. A Wedding Night includes many new types/characters that appear for the first time in the Turkish novel. The novel-fictional time, which runs parallel to social life, naturally included the types in the life it conveyed into the novel. Under which character name did the roles assigned to the types struggled? All these determinations will be discussed in the study. Key words: Adalet Ağaoğlu, A Wedding Night, Type And Typology.
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Tratsiak, Zoya. "Fictional Perception of a ‘Continuous War’ Motive in M. Loban’s Trilogy ‘The Šemiets’." Stephanos. Peer reviewed multilanguage scientific journal 38, no. 6 (November 30, 2019): 9–14. http://dx.doi.org/10.24249/2309-9917-2019-38-6-9-14.
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Irsasri, Irsasri, St Y. Slamet, Retno Winarni, and E. Nugraheni Eko Wardani. "Mataram Islam and Religiosity in Novel Trilogi Rara Mendut By YB. Mangunwijaya." IBDA` : Jurnal Kajian Islam dan Budaya 16, no. 2 (October 18, 2018): 181–200. http://dx.doi.org/10.24090/ibda.v16i2.1720.
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Trilogy novel, Rara Mendut is one of the historical evident in fictional-historical novel which reveals reality in fictional expression. Rara Mendut tells the main character, woman with strong and struggle oriented in gaining her goals. The struggle and principle of life dominated the story through its episodes compiling by the author, Y.B. Mangunwijaya. This research aims to dig up the principle of life, condition, and belief of people in Mataram Islam through the presentation of main character, Rara Mendut, Genduk Duku, and Lusi Lindri. Sociological approach and theory of sociology are used as theoretical framework to result the goal of the research. The result shows that in people of Mataram Islam had belief and perfoemed islam rules as the religion spred by Wali in Java island. The attitude and characters of Rara Mendut shows the values of Islamic teaching in the background of Matara Islam in novel Rara Mendut.
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Greenberg, Slava. "Disorienting the Past, Cripping the Future in Adam Elliot’s Claymation." Animation 12, no. 2 (July 2017): 123–37. http://dx.doi.org/10.1177/1746847717716255.
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Acclaimed Australian animator Adam Elliot dedicated his career to illustrating the experiences of people with disabilities. Elliot’s first trilogy – Uncle (1996), Cousin (1999) and Brother (2000) – is a black and white claymation accompanied by narration reminiscing beloved family members with disabilities. The article intersects disability studies, phenomenology and film studies in an analysis of the disabled body in Elliot’s claymations and the crip ethics they may evoke in spectators. The author argues that Elliot’s clayographies disorient the past by yearning for it and crip the future by criticizing the marginalization of people with disabilities, and focusing on the desire for life ‘out-of-line’. The hybridity of the trilogy is an infusion of documentary ‘domestic ethnography’ or home videos, centering familial ‘others’ with fictional film-noir that allows entrance into the dark realm of recollection. The viewers are offered bodily experiences that emphasize the body’s vulnerability and perishability, presented not in a tragic or inspirational fashion, but as inseparable from human existence. By conjuring these oppositional cinematic styles and genres in clay, disability is represented as the definition of the human experience through an ethical remembrance.
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Torrance, Ronald. "Kristin Stapleton (2016). Fact in Fiction: 1920s China and Ba Jin’s Family." British Journal of Chinese Studies 8, no. 2 (March 1, 2019): 156–60. http://dx.doi.org/10.51661/bjocs.v8i2.5.
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There are few resources amongst contemporary Chinese literary criticism that manage to weave such insightful literary readings and incisive historical research as Kristin Stapleton’s Fact in Fiction: 1920s China and Ba Jin’s Family. The book accomplishes three feats, as set out by Stapleton in her introductory chapter, simultaneously incorporating a history of twentieth-century Chengdu (and its relevance to the developments in China during this period, more broadly) alongside the author’s biography of Ba Jin’s formative years in the city and the historiographical context of his novel Family. Such an undertaking by a less skilled author would have, perhaps, produced a work which simplifies the rich historical underpinnings of Ba Jin’s Family to supplementary readings of the novel, coupled with incidental evidence of the political and social machinations of the city in which its author grew up. Not so under Stapleton’s careful guidance. By reading the social and economic development of early twentieth-century Chengdu as much as its fictional counterpart in Ba Jin’s Turbulent Stream trilogy, Stapleton provides a perceptive reading of Family which invites the reader to consider how fiction can enrich and enliven our understanding of history.
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Batinić, Ana, and Sanja Lovrić Kralj. "“Pieces of life” - Tajana’s growing up in Sunčana Škrinjarić’s trilogy Ulica predaka [The Street of Ancestors], Ispit zrelosti [Test of Maturity] and Bijele strijele [White Arrows]." Nova prisutnost XIX, no. 3 (November 14, 2021): 629–41. http://dx.doi.org/10.31192/np.19.3.11.
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This paper analyses the growing up of Tajana, a fictional character in unhealthy family surroundings as depicted in Sunčana Škrinjarić’s (1931 – 2004) trilogy: The Street of Ancestors (1980), Test of Maturity (2002), and White Arrows (2004). The main controversy of the trilogy is the presentation of a childhood without didacticism, moral lessons, or idealization; a childhood which is more unhappy than protected and joyful. By breaking settled rules and taboos, Škrinjarić created her own, recognizable style of narration. This study will particularly focus on Tajana’s relationship with her mother and the girl’s emotional development, which can be interpreted in light of childhood trauma. Tajana’s mother is an educated, beautiful, and coquettish woman who does not love her daughter. She sees the girl only as a “redundant little brat”, a reminder of her broken first marriage, and an obstacle to happiness in life. Hitting Tajana, pulling her hair, and essentially ignoring all her needs, she can be labelled a bad mother who fails to fulfil the duties of her role: being present and protective, as well as providing for her daughter’s well-being and upbringing. Tajana’s experience of emotional neglect and emotional and even physical abuse from her mother in her childhood results in the girl’s problems in building firm and healthy relationships in her adult life.
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Flint, James. "English Catholics and the Proposed Soviet Alliance, 1939." Journal of Ecclesiastical History 48, no. 3 (July 1997): 468–84. http://dx.doi.org/10.1017/s0022046900014883.
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By and large, the western world received the news of the Nazi-Soviet Pact (23 August 1939) with horror and a sick apprehension of what would come next. Quite different was the response of Guy Crouchback, the fictional hero of Evelyn Waugh's Sword of honour trilogy on the Second World War:News that shook the politicians and young poets of a dozen capitals brought deep peace to one English heart [He had] expected his country to go to war in a panic, for the wrong reasons or for no reason at all, with the wrong allies, in pitiful weakness. But now, splendidly, everything had become clear. The enemy at last was plain in view, huge and hateful, all disguise cast off. It was the Modern Age in arms. Whatever the outcome there was a place for him in that battle.
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Chappell, Shelley. "Fantasy Motif Metaphors: Magical Powers as Exceptionality in Disney’s The Incredibles and Zizou Corder’s Lion Boy trilogy." Papers: Explorations into Children's Literature 18, no. 2 (December 1, 2008): 22–27. http://dx.doi.org/10.21153/pecl2008vol18no2art1164.
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While works of the fantasy genre convey literal stories which make sense according to the laws of their fictional worlds, the very impossibilities of these narratives invite further readings of their ‘secondary or tertiary levels of meaning’ (Bleiler 1983, p.vii; also see McGillis 1996a, p.72; Walsh 1981, p.38). Such readings have been generated through the analytical lenses of allegory, parable, fable, symbol and metaphor. A specific focus upon the operation of metaphor in recurrent fantasy motifs enables a precise analysis of fantasy’s secondary levels of meaning. Such a methodology scrutinises fantasy’s engagement with cultural assumptions and ideas, highlighting the ideological implications of fantasy and thus verifying fantasy’s inherent relevance to reality. This article aims to illustrate the value of this methodology by analysing the motif of magical powers as exceptionality in Disney’s The Incredibles (2003) and Zizou Corder’s Lion Boy trilogy (2003-2005).
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Boswell, Suzanne F. "“Jack In, Young Pioneer”: Frontier Politics, Ecological Entrapment, and the Architecture of Cyberspace." American Literature 93, no. 3 (July 26, 2021): 417–44. http://dx.doi.org/10.1215/00029831-9361251.
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Abstract This essay uncovers the environmental and historical conditions that played a role in cyberspace’s popularity in the 1980s and 1990s. Tracing both fictional and critical constructions of cyberspace in a roughly twenty-year period from the publication of William Gibson’s Sprawl trilogy (1984–1988) to the Telecommunications Act of 1996, this essay argues that cyberspace’s infinite, virtual territory provided a solution to the apparent ecological crisis of the 1980s: the fear that the United States was running out of physical room to expand due to overdevelopment. By discursively transforming the technology of cyberspace into an “electronic frontier,” technologists, lobbyists, and journalists turned cyberspace into a solution for the apparent American crisis of overdevelopment and resource loss. In a period when Americans felt detached from their own environment, cyberspace became a new frontier for exploration and a so-called American space to which the white user belonged as an indigenous inhabitant. Even Gibson’s critique of the sovereign cyberspace user in the Sprawl trilogy masks the violence of cybercolonialism by privileging the white American user. Sprawl portrays the impossibility of escaping overdevelopment through cyberspace, but it routes this impossibility through the specter of racial contamination by Caribbean hackers and Haitian gods. This racialized frontier imaginary shaped the form of internet technologies throughout the 1990s, influencing the modern user’s experience of the internet as a private space under their sovereign control. In turn, the individualism of the internet experience restricts our ability to create collective responses to the climate crisis, encouraging internet users to see themselves as disassociated from conditions of environmental and social catastrophe.
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Zucconi, Francesco. "When the Copywriter is the Protagonist. History and Intermediality in Pablo Larraín’s No (2012)." Acta Universitatis Sapientiae, Film and Media Studies 12, no. 1 (September 1, 2016): 129–47. http://dx.doi.org/10.1515/ausfm-2016-0007.
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Abstract Through films such as Tony Manero (2008), Santiago 73, Post Mortem (2010), and No (2012), the productions of Chilean director Pablo Larraín have focused on the historical and political themes that marked the last decades in the life of his country: the putsch against Salvador Allende and Augusto Pinochet’s dictatorship. This paper analyses the last film of the trilogy, dedicated to the 1988 Chilean national plebiscite and the communication battle between supporters of the “Yes” and “No” sides. Why does Larraín identify the copywriter René Saavedra as the main character of the film? And why does the film accord such importance to the advertising campaign in recounting the historical reality of democratic transition? How does the fictional film remediate the archival footage of the 1988 campaign? To answer these questions, this paper investigates the film as an audiovisual form of interpretation of historical events and film montage as an intermedial “authentication” of the archival documents relating to this traumatic past.
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Vieira, Patrícia. "Utopia and dystopia in the age of the Anthropocene." Esboços: histórias em contextos globais 27, no. 46 (January 15, 2021): 350–65. http://dx.doi.org/10.5007/2175-7976.2020.e72386.
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A product of Modernity, utopian and dystopian thought has always hinged upon an assessment as to whether humanity would be able to fulfil the promise of socio-economic, political and techno-scientific progress. In this paper, I argue that the predominantly dystopian outlook of the past century or so marked a move away from former views on human progress. Rather than commenting on humanity’s inability to build a better society, current dystopianism betrays the view that the human species as such is an impediment to harmonious life on Earth. I discuss the shift from utopia to dystopia (and back) as a result of regarding humans as a force that does more harm than good, and I consider the possibility of human extinction within the framework of dystopian and utopian visions. The final section of the chapter turns to Margaret Atwood’s MaddAddam trilogy as a fictional example that plays out the prospect of a world in which humans have all but become extinct.
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Lawrence, John Shelton, and Marty S. Knepper. "T. P. Jones's Loss of Certainty Trilogy: The Politics of Jobs, Race, Democracy, and River Management in a Fictional Upper Midwest City." Journal of American Culture 36, no. 3 (September 2013): 177–93. http://dx.doi.org/10.1111/jacc.12023.
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Hansen, Nils Gunder. "Motivet der blev væk for litteraturteorien." K&K - Kultur og Klasse 45, no. 123 (August 28, 2017): 69–86. http://dx.doi.org/10.7146/kok.v45i123.96830.
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The article argues that classical concepts in literary theory such as “motif” and “theme” have been undertheorized in recent decades. They have been taken for granted as “ordinary language”-vocabulary in no need of conceptual clarification. But the dimension of content in a literary text cannot be sufficiently theorized without precise definitions of “motif” and “theme”. The article claims that the theme is always an abstract concept, an idea, extrapolated from the text by its interpreter, whereas the motif presents itself in the text as an observable constellation between mimetic elements from the human life world that can be traced with variations through multiple texts or other fictional modes. The motif can be more or less specified and will always be located somewhere on a continuum between the abstract theme and the individual text. The article then tries to enrich this understanding of the motif by confronting it with the textual theories of Paul Ricoeur and James Phelan. It is furthermore discussed whether the critique of ideology in the Marxist years played a role in the marginalization of the motif. The relevance of the reconstructed concept is finally demonstrated in an outline of an analytical approach to three novels (The “Hvium”-trilogy) by the Danish author Ida Jessen and it is concluded that this type of approach enables observations that would have been less obvious entering the textual universes on higher or lower levels than the motif being always in between the theme and the text.
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Foley, Amy A., and David M. Kleinberg-Levin. "The Philosopher’s Truth in Fiction." Chiasmi International 21 (2019): 75–101. http://dx.doi.org/10.5840/chiasmi20192113.
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This interview with David Kleinberg-Levin, Professor Emeritus in the Department of Philosophy at Northwestern University, concerns his recent trilogy on the promise of happiness in literary language. Kleinberg-Levin discusses the relationship between and among philosophy, phenomenology, and literature. Among others, he addresses questions regarding literature’s ability to offer redemption, its response to suffering and justice, literary gesture, the ethics of narrative logic, and the surface of the text.Cet entretien avec David Kleinberg-Levin, Professeur émérite au département de philosophie de la Northwestern University, est consacrée à sa récente trilogie sur la promesse du bonheur dans le langage littéraire. Kleinberg-Levin examine les relations réciproques et internes de la philosophie, de la phénoménologie et de la littérature. Entre autres, il pose des questions sur la capacité de la littérature à offrir une rédemption, sur sa réponse à la souffrance et à la justice, sur le geste littéraire, sur l’éthique de la logique narrative et sur la surface du texte.L’intervista a David Kleinberg-Levin, Professore Emerito presso il Dipartimento di Filosofia della Northwestern University, è dedicata alla sua recente trilogia sulla promessa di felicità nel linguaggio letterario. Kleinberg-Levin esplora il rapporto tra filosofia, fenomenologia e letteratura. In particolare egli affronta le questioni che riguardano la capacità della letteratura di offrire redenzione, la sua risposta alla sofferenza e alla giustizia, il gesto letterario, l’etica della logica narrativa, e la superficie del testo.
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Pepper, Andrew. "‘Complex’ Crime Fiction and the Politics of Ongoing-ness: Don Winslow's War against Endings." Crime Fiction Studies 1, no. 1 (March 2020): 130–45. http://dx.doi.org/10.3366/cfs.2020.0011.
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In pointing out that beginnings and endings merge in Don Winslow's ‘drug war’ trilogy – The Power of the Dog (2005), The Cartel (2015), and The Border (2019) – I argue that his narratives, like the ‘war on drugs’ itself, are ‘ongoing.’ Taking the resulting tension whereby this open-endedness or ongoing-ness is set against crime fiction's more typical generic push to resolution, as a starting point, I use and develop Mittell's concept of ‘complex TV’ to account for the complexities and continuities of Winslow's fiction. In one sense, this ongoing-ness is occasioned by Winslow's subject matter: it is the sociopolitical realities of the ‘war on drugs’ which determine the trilogy's structural and generic qualities. But what makes Winslow such an important writer are the particular ways he reshapes and pushes against the limits of narrative and genre, something that is made possible by and in turn makes possible a particular understanding of political struggle as ongoing and irresolvable. In my essay I explore the political implications of Winslow's fiction through a close examination of narrative and genre and where the emphasis is placed on breakdown and glitch rather than the successful realisation of totality.
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DOMBROVSKIY, PAVEL, and OLEG KHAZANO. "THE J.R.R. TOLKIEN’S MYTH IN THE COUNTERCULTURE OUTLOOKS IN THE WEST SOCIETY OF 1960-1970S YEARS." History and modern perspectives 2, no. 3 (September 30, 2020): 124–33. http://dx.doi.org/10.33693/2658-4654-2020-2-3-124-133.
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The article is devoted to the researching of the J.R.R. Tolkien’s (British writer and linguist) influence on the outlook of counterculture movements in 1960-1970s years. The west countries’ history of that period describes a developing of the youth protest activity and the promoting of the trilogy «The Lords of the Rings», which became the most important embodiment of J.R.R. Tolkien’s mythology. As the result, the creativity of British writer became as the fantastic allusion to the modern and recent historical problems of society, such as the USA campaign in Vietnam, world wars, consumption cult, the harm to the environment, the fight for civil rights, etc. The purpose of that article is to identify the role of J.R.R. Tolkien’s myth in the ideological forming of youth movements of the mentioned time period in the USA and West Europe of 1960-1970s years. Through the prism of that interaction authors reconstruct a layer of counterculture mythology with the merging of Tolkinism’s (the writer’s creativity and outlook) and protest ideas inside the original awareness. The result of this process is in the appearance of the new youth movements’ ideological aspects, reflected in slogans, sings and street art of the pointed time period. The embodiment of the young generation’s protest activity with fictional heroes and events in Tolkien’s Middle-Earth has the main role in such aspects. However, today there is lack of the researching of that problem. Authors of the article suggest to look at the counterculture’s history in west countries through the prism of the pointed synthesis as the one of basically elements in the formation of modern mass culture and subculture layer.
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Mutter, Matthew. "“Stands for Itself Certainly”." Common Knowledge 27, no. 3 (August 1, 2021): 422–81. http://dx.doi.org/10.1215/0961754x-9265297.
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Abstract J. M. Coetzee's trilogy of novels with Jesus in their titles, published between 2013 and 2019, has bewildered many reviewers. This essay review proposes that that bewilderment stems from a misconception of the novels’ allegorical dimension and of the possible meanings evoked by their titles. The trilogy is the consummation of Coetzee's meditations on analogy and linguistic skepticism; on the ontological status of fictions; on the eschatological impulsion of writing; and on memory's capacity for true recognitions that have no empirical basis. The trilogy presents us with a world that affirms a purely immanent life. Coetzee tests this world dialogically by subjecting its self-identical “here” to the nonidentical repetitions of analogical thought, through which an “elsewhere” impinges on the “here.” The trilogy's deepest questions turn on the metaphysical scope of this “elsewhere”: that is, on whether the vertiginous depths of analogy participate in an underlying substrate of meaning, recognizable as “the Word of God.”
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Wang, Aiqing. "Taoist Philosophy in Chinese Science Fiction: A Comparison between Zhuangzi and Broken Stars." Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya 11, no. 2 (December 30, 2021): 237. http://dx.doi.org/10.26714/lensa.11.2.2021.237-251.
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Chinese science fiction has been attaining global visibility since Liu Cixin’s trilogy entitled Remembrance of Earth’s Past. The trilogy’s English translator Liu Yukun has edited and rendered a science-fiction anthology that comprises sixteen novellas composed by fourteen Chinese novelists. Apart from a fecundity of imagination and richness of imagery-evoking depictions, narratives compiled in the anthology also epitomise Taoist philosophy conveyed in Zhuangzi, a Warring States (475-221 BC) treatise ascribed to an illustrious philosopher Zhuangzi. Philosophical constructs in the anthology can be exemplified by quintessential construals such as ‘non-action’, ‘resting in destiny’ and ‘self-so’, as well as mindset appertaining to temporal and aesthetic issues.
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Wodzyński, Łukasz. "Modernism Romanced: Imaginary Geography in Jerzy Żuławski'sThe Lunar Trilogy." Slavic Review 77, no. 3 (2018): 685–703. http://dx.doi.org/10.1017/slr.2018.205.
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The article examines the imaginary geography of Jerzy Żuławski'sThe Lunar Trilogy–On the Silver Globe(1903),The Conqueror(1910), andThe Old Earth(1911) – focusing on the relationship between the author's modernist sensibilities and the trilogy's adoption of the nascent science fiction genre. While modernism and popular fiction are usually placed on opposite ends of the literary spectrum, the example of Żuławski demonstrates that popular fiction was a valuable tool for modernist authors who sought to overcome the limits of realist conventions but were reluctant to alienate the mass readership. Drawing inspiration from the broadly-conceived spatial turn in the humanities, the article positions Żuławski and his work within the literary tradition that utilizes the romance mode (as defined by Northrop Frye, Fredric Jameson, and others) to reflect on modern subjectivity and its relations with what Max Weber called the “disenchanted world.”
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Petroski, Karen. "Legal fictions and the limits of legal language." International Journal of Law in Context 9, no. 4 (December 2013): 485–505. http://dx.doi.org/10.1017/s1744552313000268.
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AbstractSince Lon Fuller published his 1930 trilogy of essays on the topic, students of the legal fiction have focused on identifying additional examples of fictions or challenging Fuller's classic taxonomy. But Fuller did more in these essays than propose a definition and a classification system; he also argued that legal fictions are examples of a more general phenomenon found in many systems of specialised language usage. Drawing on work done in the intervening decades on related issues outside the law, this paper develops this insight in new directions, seeking to understand in more detail one of Fuller's principal concerns: the points at which legal language stops communicating, points that may shift over time but will never completely disappear. The analysis indicates that the currently prevailing understanding of legal fictions as, in essence, consciously counterfactual propositions is historically contingent and incomplete; that legal writers have generally used the ‘legal fiction’ label to signal those writers' sense of the futility of further justification to a non-legal audience (even when they are using the term in a justification likely to be read only by a legal audience); and, contrary to the assumptions of many post-Fuller theorists, that the boundaries of the legal vocabularies recognised as self-justifying may have become less distinct over the past century.
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Hollander, Philip. "Rereading “Decadent” Palestinian Hebrew Literature: The Intersection of Zionism, Masculinity, and Sexuality in Aharon Reuveni's ‘Ad Yerushalayim." AJS Review 39, no. 1 (April 2015): 3–26. http://dx.doi.org/10.1017/s0364009414000622.
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This article asserts that politics motivated Aharon Reuveni to employ representations of psychic fragmentation and dysfunctional social institutions to portray Palestinian Jewish life in his novelistic trilogy‘Ad Yerushalayim. These purportedly decadent representations helped him foreground individual and collective flaws he saw limiting the early twentieth-century Palestinian Jewish community's development and promote norms he saw as conducive to growth. Thus, as examination of the trilogy's central male figures demonstrates, Reuveni advances a Zionist masculinity grounded in introspectiveness and ongoing commitment to the achievement of communally shared goals. To further support this Zionist masculine form, the trilogy categorizes men who pursue homosocial ties with others who don't maintain this masculinity as homosexuals. Thus gender and sexuality are used to coerce male readers into adopting specific behavioral norms. This attention to gender and sexuality's role in early twentieth-century Palestinian Hebrew fiction offers a way to grasp its long-overlooked political character.
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Nammi, Srividya. "Universal Vision in the Fiction of Ben Okri." SMART MOVES JOURNAL IJELLH 8, no. 11 (November 28, 2020): 135–51. http://dx.doi.org/10.24113/ijellh.v8i11.10841.
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Okri’s fiction is a mix of fantasy, realism and oral tradition of Africa. Though the trilogy nearly covers some fourteen hundred odd pages, it doesn’t have a proper beginning or end. Okri’s view of an unnamedAfrican ghetto, which is going to get independence, is presented in these novels. He is not giving solutions to the existing problems , he is simply presenting the true nature of an African state in an elusive manner. He narrates The Famished Road through the experiences of an ‘abiku’, Azaro, a seven year old child. He uses Azaro to narrate the chaotic state of affairs in an African state , and educates Azaro with the rich African culture in the form of stories told by his mother and father, and shows the real state of Africa in the form of photographs taken by the photographer, Jeremiah. Okri’s fiction has many layers of meaning which makes the task of analysis difficult. Though several labels like magical realism, Post-colonial, post-modern text are given the trilogy defies any particular definition. After examining his Trilogy thoroughly, it seems that Okri though elusive in his writings apparently wants a new – world. The Trilogy moves in the direction of anticipating a world fine tuned to harmonious living.
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Kahn-Harris, Deborah. "Starting the Conversation." European Judaism 49, no. 2 (September 1, 2016): 22–29. http://dx.doi.org/10.3167/ej.2016.490205.
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AbstractThis article reflects on the interface between biblical studies and feminist science fiction as a tribute to Rabbi Sheila Shulman, who was interested in the theological questions that underlie much science fiction. The essay discusses briefly Mary Doria Russell’s The Sparrow and Children of God followed by a longer analysis of Suzette Haden Elgin’s Native Tongue trilogy. The Native Tongue trilogy addresses questions of language and identity, the creation of a women’s language (Láadan), and the theory of linguistic relativity. The essay examines how these issues may be pertinent to the development of biblical based Jewish theology, with a particular focus on how questions of linguistic relativity might apply to the Hebrew language and, hence, Jewish theology.
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Eve, Martin Paul, and Joe Street. "The Silicon Valley Novel." Literature & History 27, no. 1 (March 20, 2018): 81–97. http://dx.doi.org/10.1177/0306197318755680.
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In this article we propose that one of the emergent, but under-charted, and as yet unnamed thematic strands in recent American fiction and that contributes to recent literary history is that of the ‘Silicon Valley novel’. The trend can be seen in the literary fiction of Tony Tulathimutte, Jarett Kobek, Thomas Pynchon, Don DeLillo, and Dave Eggers, to name but a few, but also in the trilogy of novels by Ann Bridges dubbed, ‘The Silicon Valley Trilogy’. Silicon Valley novels are concerned with the emergent technological industry in the Bay Area but they are also of a specific periodising moment. Hence, while named for the geography, we here situate the Silicon Valley novel as more tied to time in the early twenty-first century.
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Caldas, Carlos. "SPACE ANGELS: ANGELOLOGY IN C. S. COSMIC LEWIS’S TRILOGY." Perspectiva Teológica 52, no. 2 (September 1, 2020): 417. http://dx.doi.org/10.20911/21768757v52n2p417/2020.
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The Northern Irish author C. S. Lewis (1898-1963) was one of the outstanding Christian thinkers of the last century. A prolific author, he moved through different areas, such as literary criticism, youth literature, science fiction, and texts of theological exposition and of apologetics. In science fiction there is his remarkable “Cosmic Trilogy”: Beyond the Silent Planet, Perelandra, and That Hideous Strength. In these three books, Lewis presents a vast array of themes. Among these is angelology,the systematic study of heavenly beings known as angels. The aim of this article is to present the major influences that Lewis used to build his angelology: old Jewish literature, exemplified in texts such as the Ethiopian Enoch (or the Book of Enoch or First Enoch), and the biblical tradition itself. The article will seek also to defend the hypothesis that, using fiction, Lewis builds an imaginative and suggestive theology that is a critique of the rationalism of continental theology of his day.
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PARE, SHVETAL VYAS. "Writing Fiction, Living History: Kanhaiyalal Munshi's historical trilogy." Modern Asian Studies 48, no. 3 (June 4, 2013): 596–616. http://dx.doi.org/10.1017/s0026749x12000777.
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AbstractKanhaiyalal Munshi was a pre-eminent Gujarati author, freedom fighter and politician. A member of the Indian National Congress and a close associate of Mahatma Gandhi, he is credited with having developed and popularized the concept of Gujarat ni asmita, or Gujarati self-consciousness. This paper focusses on a trilogy of Munshi's historical fiction namely Patan Ni Prabhuta (The Glory of Patan) (1916), Gujarat No Nath (The Master of Gujarat) (1917–1918) and Rajadhiraj (The King of Kings) (1922). This paper offers a close reading of these texts, to argue that the trilogy offers the possibility of opening up notions of Gujarati identity, and of showing its constructed nature. Munshi's engagement with the ideas of politics, heroism and nation-building reflects the concerns of a movement that is trying to understand both itself and the nation that it is in the process of imagining. Highlighting the subversion of the texts is an attempt to stretch the boundaries of Gujarati identity, and think differently about the meaning of being Gujarati.
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Smith, Russell. "Dead Enough to Bury." Samuel Beckett Today / Aujourd’hui 33, no. 1 (July 19, 2021): 30–44. http://dx.doi.org/10.1163/18757405-03301003.
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Abstract This essay examines the concepts of life and afterlife as they appear across Beckett’s trilogy, through focussing on representations of the act of burial, an act which draws attention to a caesura between biotic and abiotic conceptions of both life and afterlife. As the worlds of the trilogy become progressively less biotic, The Unnamable might be thought of as a laboratory in which the ‘lives’ of its characters are subjected to various biological experiments, experiments which suggest that narrative fiction, like the act of burial, is a kind of prophylactic against the fundamental processual nature of biotic life.
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Tabone, Mark A. "Insistent Hope as Anti-Anti-Utopian Politics in N. K. Jemisin’s Broken Earth Trilogy." Utopian Studies 33, no. 1 (March 1, 2022): 18–35. http://dx.doi.org/10.5325/utopianstudies.33.1.0018.
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ABSTRACT This article discusses the politics of hope in N. K. Jemisin’s Broken Earth trilogy. Drawing on scholarship in utopian studies, science fiction studies, and Africana studies, it discusses the ways in which Jemisin uses two intentional community experiments depicted in the trilogy as “critical utopias” in order to work through problems involved in collective living, including the potentially anti-utopian aspects of these communities’ shortcomings. Ultimately, despite the apocalyptic setting that has attracted the most attention from critics, this article argues that The Broken Earth ultimately affirms the necessity of utopian hope, even amid anti-utopian circumstances, and as such is an important and timely political statement. In a historical moment marked by social and racial strife and, in the literary realm, by what Sean Guynes calls “dystopia fatigue,” Jemisin’s trilogy does not promise utopia, but insists on the need for hope in seemingly hopeless times, the “anti-anti-utopian” orientation described by Fredric Jameson.
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Russell, Alison. "DeconstructingThe New York Trilogy: Paul Auster's Anti-Detective Fiction." Critique: Studies in Contemporary Fiction 31, no. 2 (January 1990): 71–84. http://dx.doi.org/10.1080/00111619.1990.9934685.
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Casado Presa, Cristina. "La reconceptualización de la bruja como heroína en las novelas de Maite Carranza=the reconceptualization of the witch as a heroine in the novels by Maite Carranza." Estudios Humanísticos. Filología, no. 43 (December 20, 2021): 123–37. http://dx.doi.org/10.18002/ehf.v0i43.7058.
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El presente artículo analiza la trilogía La Guerra de las brujas de Maite Carranza, publicada entre 2005 y 2007. La figura de la bruja, tradicionalmente considerada como un exponente de lo monstruoso femenino, ha surgido como una figura popular en la ficción para jóvenes adultos a la hora de abordar la formación de la identidad en lo que se ha denominado como ‘the teenage witch convention’. Mi análisis parte de este concepto y de las teorías de Joseph Campbell acerca del viaje del héroe para explorar la figura de la bruja joven o adolescente como un espacio de mediación e hibridez que permite articular los conceptos de heroína, negociación cultural y poder femenino. This article analyzes the trilogy The War of the Witches by Maite Carranza, published between 2005 and 2007. The figure of the witch, traditionally considered an exponent of the monstrous feminine, has emerged as a popular figure in young adult fiction as a vehicle to address identity formation in what has been called “the teenage witch convention’. My analysis builds upon this concept and Joseph Campbell's theories about the hero's journey to explore the figure of the young witch as a space of mediation and hybridity that allows to articulate the concepts of heroine, cultural negotiation, and feminine power.
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Lee, Simon. "Brutal Youth: Colin MacInnes and the Architecture of the Welfare State." Journal of Working-Class Studies 3, no. 1 (June 1, 2018): 20–39. http://dx.doi.org/10.13001/jwcs.v3i1.6113.
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Colin MacInnes’ London trilogy is known for its prominent focus—unusual in British fiction of the time—on class and racial conflict in mid-century London. Comprised of City of Spades (1957), Absolute Beginners (1959), and Mr Love and Justice (1960), the trilogy plots the complicated enactment of the new welfare-state’s reconstruction strategies from the post-war resurgence of slum clearance, to the forced evictions of suburban migration, to the development and erection of alienating council flats. In doing so, MacInnes offers a distinctive take on Londoners’ responses to these strategies, demonstrating the way mindful urban planning was shouldered aside by quixotic and hurried resolutions. As part of a vibrant wave of mid-century British writing sensitive to issues of class, race, and gender, MacInnes’ fiction scrutinized postwar urban displacement as it happened and without any of the benefit of hindsight. This article, then, highlights the distinctively nuanced perspectives that socially-attuned and classconscious literature can offer in terms of understanding the tangible impact of space on social stratification.
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Alker, Gwendolyn. "Stretching the Truth Way into the Future: Cynthia Hopkins's The Success of Failure (Or, The Failure of Success)." TDR/The Drama Review 54, no. 1 (March 2010): 167–71. http://dx.doi.org/10.1162/dram.2010.54.1.167.
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Cynthia Hopkins is the latest “It-girl” on the contemporary theatre scene of New York City. Her recent The Success of Failure (Or, The Failure of Success) is the third installment of the Accidental Nostalgia trilogy, a poetic and enigmatic multimedia epic that is part autobiography, part science fiction, part none of the above.
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Rodríguez González, Carla. "Resilience and Urban Capabilities in Denise Mina’s Garnethill Trilogy." Contemporary Women's Writing 13, no. 2 (July 2019): 169–85. http://dx.doi.org/10.1093/cww/vpz017.
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Abstract This essay examines Denise Mina’s Garnethill trilogy from the standpoint of spatial and capabilities studies. It analyzes the representation of spaces of resilience and their role in the gendered redistribution of urban and domestic power portrayed in the narratives. In order to do so, it contextualizes these books within the framework of contemporary Scottish crime fiction and subsequently studies the contraposition and subversion of emotional spaces in Glasgow and London in the process of recovery from the trauma of the child sexual abuse their protagonist has undergone.
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Abbott, Carl. "West by Southeast: Peter Matthiessen's Florida Trilogy as Western Fiction." Western American Literature 47, no. 1 (2012): 46–64. http://dx.doi.org/10.1353/wal.2012.0020.
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McGinn, Colin. "The Matrix." Think 2, no. 5 (2003): 7–16. http://dx.doi.org/10.1017/s1477175600002530.
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The science-fiction film The Matrix (the first in a trilogy) generated a great deal of philosophical interest. There are already three collections of philosophical papers either published or in the pipeline devoted to the film (all are aimed at the general public, not academics). Here, Colin McGinn takes a closer look at the film and comes up with some rather surprising conclusions.
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Adami, Valentina. "The Pedagogical Value of Young-Adult Speculative Fiction: Teaching Environmental Justice through Julie Bertagna’s Exodus." Pólemos 13, no. 1 (April 24, 2019): 127–47. http://dx.doi.org/10.1515/pol-2019-0007.
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Abstract The environmental crisis is one of the most pressing societal concerns today. Speculative fiction frequently questions current political, legal and cultural attitudes by portraying future scenarios in which some ecological disaster has changed the world order. Scottish children’s author Julie Bertagna has given her contribution to these speculations on the consequences of letting current trends in environmental behaviour continue unchallenged with her young-adult novel Exodus (2002), part of a trilogy continued in 2007 with Zenith and completed in 2011 with Aurora. This paper explores the pedagogical value of young-adult speculative fiction and examines Bertagna’s survival narrative as a questioning of environmental justice, in the light of contemporary theories on young-adult fiction, ecocriticism and human rights.
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Congáil, Ríona Nic. "The Changing Face of Irish Ireland: Séamus Ó Grianna's and Éilís Ní Dhuibhne's Fictions of the Donegal Gaeltacht." Irish University Review 44, no. 2 (November 2014): 357–80. http://dx.doi.org/10.3366/iur.2014.0129.
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Séamus Ó Grianna and Éilís Ní Dhuibhne, whose lifespans overlapped only briefly, rank among the most prolific Irish writers of the twentieth century. Their bilingualism, moreover, offers them access to two languages, cultures, and viewpoints. Their shared interest in the Donegal Gaeltacht during the revivalist period, and their use of fiction to explore and represent it, provide their readers with a remarkable insight into the changing ideologies of twentieth-century Ireland, and particularly Irish-Ireland, touching on broad issues that are linguistic, cultural, political, gendered, and spatial. This essay begins by analyzing the narrative similarities between Ó Grianna's Mo Dhá Róisín and Ní Dhuibhne's Hiring Fair Trilogy, and proceeds to examine how both writers negotiate historical fact, the Irish language, the performance of Gaelic culture, the burgeoning women's movement, and the chasm between rural and urban Ireland of the revival. Through this approach, the essay demonstrates that the fictions of these two writers reveal as much about their own agendas and the dominant ideas of the epoch in which they were writing, as they do about life in the Donegal Gaeltacht in the early twentieth century.
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Davis, Erik. "Profane Illuminations: Robert Anton Wilson’s Hedonic Ascesis." Gnosis: Journal of Gnostic Studies 6, no. 2 (July 7, 2021): 209–32. http://dx.doi.org/10.1163/2451859x-12340113.
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Abstract The writer Robert Anton Wilson (1932–2007) played a significant intellectual role in the American counterculture in the late 1970s, 1980s, and 1990s. Drawing from a wide range of discourses, as well as his own occultural fictions and personal experiments in “hedonic engineering,” Wilson presented a pluralistic view of reality that combined a pragmatic skepticism with a creative and esoteric embrace of the “meta-programming” possibilities of altered states of consciousness. In his 1975 Illuminatus! trilogy, written with Robert Shea, Wilson wove anarchist, psychedelic, and occult themes into a prophetic conspiracy fiction written with a satiric and willfully pulp sensibility. Ritually experimenting with psychedelic drugs and sexual magic – experiences related in his 1977 book Cosmic Trigger – Wilson developed a wayward if deeply self-reflexive theory and dialectical method of visionary practice, one that, amidst the paranoia, presented its own deconstructive and libertarian vision of gnosis. This essay contextualizes and unpacks Wilson’s visionary pragmatism in terms of Foucault’s roughly contemporaneous notion of “technologies of self,” later elaborated by Peter Sloterdijk as “anthropotechnics.” It also traces the specific debts that Wilson owed to other esoteric and psychedelic technologists of the self, including Aleister Crowley, Timothy Leary, and John Lilly.
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Donets, Paul. "STYLISTIC MEANS OF EXPRESSING TRANSHUMANISM IN “SPRAWL” TRILOGY BY WILLIAM GIBSON." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 18, no. 28 (July 2019): 72–85. http://dx.doi.org/10.24195/2616-5317-2019-28-7.
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The article examines stylistic devices in which American-Canadian writer William Gibson expresses transhumanist ideas. The author is famous for being one of the pioneers and brightest representatives of science fiction subgenre, known as cyberpunk. His debut trilogy “Sprawl”, which touches upon social, moral and ethical issues of using advanced technologies, has been chosen as an object to be studied. It is found out that the message translated by the author is controversial: while having some obvious transhumanist indications, it also has various alarmist traits, which can be observed at stylistic and lexical level. In its simplest form, this is manifested in the special use of epithets, metaphors, similes, hyperbolas and other stylistic means. In some cases the series rather opposes transhumanism than reproduces its techno-optimistic discourse. It follows the warning trends of modern English-language science fiction, relying on such classic dichotomies as “natural / artificial” and “human / non-human”. The tropes and figures of speech used by the author are in most cases emotionally expressive, that is, they contain elements of value (both positive and negative).
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Amin Shirkhani, Mohammad. "Configuration of the Self-Mythology and Identity of Female Characters in Paul Auster’s In the Country of Last Things and The New York Trilogy." International Journal of Applied Linguistics and English Literature 6, no. 7 (October 10, 2017): 81. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.7p.81.
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The works of American novelist Paul Auster (1947- ) are uniquely concerned with the mythology of self, metanarrative and the role gender plays in these transactions. In his earliest works, The New York Trilogy (1985-1986) and In the Country of Last Things (1987), Auster uses genre conventions and styles (for the former, detective novels; for the latter, dystopian fiction) to interrogate these preconceptions of self-mythology and the role of gender within these genres, subverting tropes and traits of these works to comment upon them. In the following, we investigate these works in depth along these themes, conducting a close textual analysis from the framework of Freudian and Lacanian theories of psychoanalysis and poststructuralism. By investigating the roles of women in The New York Trilogy and In the Country of Last Things, we hope to illuminate Auster’s uniquely postmodernist, deconstructive approach to the psychological imperatives women are socialized into within American society, and how they are informed by narrative and mythology. The role of women, from the absent trophies of The New York Trilogy to the central voice of sanity of Anna in In the Country of Last Things, posits women as a societal superego whose goal it is to keep the destructive, nihilistic id-like impulses of men in check.