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Journal articles on the topic 'Heroic fantasy'
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Valkenburg, Patti M., Marcel W. Vooijs, Tom H. A. van der Voort, and Oene Wiegman. "The Influence of Television on Children's Fantasy Styles: A Secondary Analysis." Imagination, Cognition and Personality 12, no. 1 (September 1992): 55–67. http://dx.doi.org/10.2190/99qn-1ecb-g7f0-je6e.
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In a secondary analysis applied to longitudinal data obtained from a panel survey, the authors established how violent and nonviolent television program types were related to three fantasy styles: a positive-intense, aggressive-heroic, and a dysphoric fantasy style. A sample of Dutch children ( N = 354) was surveyed when they were in Grades 2 and 4, and resurveyed two years later. Results indicated that children's fantasy styles in Year 1 did not affect their television viewing in Year 3. However, children's viewing frequency in Year 1 did influence their fantasy styles in Year 3. The longitudinal effects of television were dependent on the types of programs watched. Watching nonviolent children's programs encouraged a positive-intense fantasy style, whereas violent programs encouraged an aggressive-heroic fantasy style. Television viewing was unrelated to dysphoric fantasy.
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Johnsen, Christian Garmann, and Bent Meier Sørensen. "Traversing the fantasy of the heroic entrepreneur." International Journal of Entrepreneurial Behavior & Research 23, no. 2 (March 13, 2017): 228–44. http://dx.doi.org/10.1108/ijebr-01-2016-0032.
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Purpose While considerable critical energy has been devoted to unmasking the figure of the heroic entrepreneur, the idea that entrepreneurs are unique individuals with special abilities continues to be widespread in scholarly research, social media and popular culture. The purpose of this paper is to traverse the fantasy of the heroic entrepreneur by offering a reading of Richard Branson’s autobiography, Losing My Virginity. Design/methodology/approach The theoretical approach of this paper is informed by Slavoj Žižek’s concept of fantasy and his critical analytical strategy of “traversing the fantasy”. Žižek offers a theoretical framework that allows us to understand how narratives of famous entrepreneurs create paradoxical fantasies that produce desire. Findings By offering a reading of Richard Branson’s autobiography, Losing My Virginity, this paper serves to illustrate how the fantasy of the heroic entrepreneur creates the injunction to overcome oneself and become true to oneself, but also how this figure is ridden with contradictions and impossibilities. Branson’s book will eventually be shown to be a religious narrative, where the entrepreneur is responsible for redeeming the crises not only of the economy, but of being as such. Originality/value Rather than striving towards a processual approach that lays emphasis on the collective effort involved in entrepreneurship, this paper critically engages directly with the heroic entrepreneur by exploring how this figure is a fantasy that structures desire. This paper shows how critical entrepreneurship studies could benefit from an approach that analyses how the cultural representation of business celebrates the heroic entrepreneur as a source of value creation. The authors further argue that it is the contradictions and impossibilities embodied in the figure of the heroic entrepreneur that carry its far-reaching appeal.
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Dr. Abdul Shakoor and Muhammad Tahir. "Elements of Fantasy in Arabic Literature after the Emergence of Islam: A Brief Review." Dareecha-e-Tahqeeq 3, no. 3 (January 16, 2023): 235–45. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.68.
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Fantasy is an imaginative, unrealistic component of a story or tale which appears unusual and strange. It comprise of unbelievable actions and events. Its basic types are fable, epic, super heroic, chronological, romantic, scientific, fabulous, planetary fantasy, extra planetary, magical, adulthood, narcissist and idealist fantasies. The subject article is a discussion of literary importance of all types of fantasies in Arabic literature after the advent of Islam.
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Vooijs, Marcel W., Johannes W. J. Beentjes, and Tom H. A. van der Voort. "Dimensional Structure of the Imaginal Processes Inventory for Children (IPI-C)." Imagination, Cognition and Personality 12, no. 1 (September 1992): 45–53. http://dx.doi.org/10.2190/wwrx-j2d1-84pe-ddkg.
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The dimensional structure of Dutch versions of the Imaginal Processes Inventory for Children (IPI-C) was investigated with children in Grades 3–6. According to Study 1, the reliabilities of the nine subscales distinguished within the American instrument were not satisfactory. A principal components analysis (PCA) performed on the subscales resulted in three factors that paralleled the three fantasy styles found previously in a similar analysis of the American IPI-C. However, two of the three factors found were defined by subscales that had a number of items in common. When these shared items were removed from the subscales, a different three-factor solution emerged. The three fantasy styles found in the latter analysis were encountered again in Study 2, which was conducted with an adjusted version of the IPI-C. Three reliable fantasy scales were constructed, for positive-intense, heroic-aggressive, and dysphoric fantasy. The results of the two studies justify further research into the validity of these three fantasy scales.
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Ivanova, Elizaveta A. "Transformation of the Concept ‘Hero’ in Joe Abercrombie’s Works." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, no. 4 (November 25, 2020): 478–82. http://dx.doi.org/10.18500/1817-7115-2020-20-4-478-482.
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Based on myths, epic, romance and adventure literature, classical fantasy books often depicted their heroes as warriors physically fighting evil. Nowadays the British writer Joe Abercrombie, whose works belong to the so-called grimdarkfantasy, depicts wars questioning the value of violent heroic deeds and the concept of a ‘hero’ itself.
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Veglahn, Nancy. "Images of Evil: Male and Female Monsters in Heroic Fantasy." Children's Literature 15, no. 1 (1987): 106–19. http://dx.doi.org/10.1353/chl.0.0366.
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Ivanova, Natalia, and Olga Ryzhchenko. "META-GENRE OF FANTASY IN THE CONTEXT OF MODERN SCIENCE." RESEARCH TRENDS IN MODERN LINGUISTICS AND LITERATURE 2 (November 7, 2019): 23–37. http://dx.doi.org/10.29038/2617-6696-2019.2.23.37.
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The article deals with the problem of interpreting the phenomenon of fantasy in modern science. Fantasy has spawned many discussions related to the definition of its sources and genre nature, the relationship with the myth-folklore tradition, the problems of classification, the specifics of extra-literary functions and many others. We consider fantasy to be one of the branches of speculative fiction, which naturally formed into an independent industry in the second half of the twentieth century. Initially having appeared as a genre, fantasy subsequently has outgrown this category. Today we can say with confidence that fantasy is a meta-genre, which has its own structure of modeling the world and unites various literary genres (novel, novelette, lyric poetry and others) and types of art (sculpture, cinema, animation, graphic arts, painting, and others) with a common subject of artistic representation.The constant dynamics of fantasy leads to the increase in the number of topics (heroic, epic, historical, magical, scientific, romantic and mystical) and, as a result, the readership as well. For example, it can be classified by age criterion (children – adult), by geographic criterion (urban – countryside), and even by gender principle (men – women fantasy). There are several approaches presenting different aspects of the phenomenon: classifications by the type of adventure or problematic-thematic principle (Ramin Shidfar or Sergey Alekseev and Mikhail Batshev). Such a diverse scientific interest in fantasy, multiple attempts to classify and systematize it, as well as going beyond the boundaries of the literary genre, testify to the ongoing process of its development.
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John, Judith Gero. "A Necessary Fantasy?: The Heroic Figure in Children's Popular Culture (review)." Lion and the Unicorn 27, no. 2 (2003): 286–88. http://dx.doi.org/10.1353/uni.2003.0017.
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Hughes, A. J., Bo Almqvist, Séamas Ó. Catháin, and Pádraig Ó. hÉalaí. "The Heroic Process: The Form, Function & Fantasy in Folk Epic." Seanchas Ardmhacha: Journal of the Armagh Diocesan Historical Society 13, no. 2 (1989): 332. http://dx.doi.org/10.2307/29742415.
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Abasheva, Marina P. "Slavic fantasy yesterday and today." Philological Sciences. Scientific Essays of Higher Education, no. 2 (March 2021): 39–46. http://dx.doi.org/10.20339/phs.2-21.039.
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The article is devoted to the study of the evolution and transformation of the Slavic fantasy genre on Russian soil: from its inception in the 1990s to the present day. Fantasy on the material of the events of the time of the pro-Slavic unity in Russia gained popularity and special significance. They solved the compensatory tasks of re-identification for the mass consciousness: with the collapse of the Soviet empire, the post-Soviet man needed a positive identity, which manifested itself in turning to the “great past” in predominantly heroic images. The subsequent historization and contextualization of the genre, its transformation from a fairy tale to a quasi-historical narrative was largely due to the influence of the ideologies spread by folk history. In the 2000s, Slavonic fantasy employs the mechanisms of routine, serialization, reduction, and convergence. In the 2010s, Slavic fantasy continues to be part of the national myth, gaining new genre forms — a film, a computer game, etc. However, new examples of the genre (in particular, Andrei Rubanov’s novel “Finist the Clear Falcon” of 2019) broadcast nostalgic moods in the aesthetic spirit retroutopia. If at the turn of the 1990–2000s Slavic fantasies became close to a historical adventure novel, now their rapprochement with a fairy tale is indicative.
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HUNT, ANDREW D. "Overtreatment of Neonates." Pediatrics 91, no. 1 (January 1, 1993): 170. http://dx.doi.org/10.1542/peds.91.1.170.
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To the Editor.— Dr Silverman's elegant paper raises questions that have resisted resolution and have serious implications for practice and political involvement of pediatrics in the United States. Regarding ethics in the neonatal intensive care unit (NICU) he mentions the ". . . fulfillment of an eager team's dream of rescue bring(ing) about the real-life enactment of a family's worst nightmare . . ." Brody1 recently has developed the concept of the "Rescue Fantasy" undergirding many of medicine's heroic ministrations.
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Markova, Tatyana N. "Fantasy in the Russian-Language Segment of Literature of Kazakhstan." Вестник Пермского университета. Российская и зарубежная филология 14, no. 3 (2022): 106–12. http://dx.doi.org/10.17072/2073-6681-2022-3-106-112.
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The turn of the 20th–21st centuries is characterized by highly intensive processes of national self-identification. An important role in this process is played by fantasy as a popular genre of popular literature. The study of Kazakh fantasy is of academic interest due to its popularity with readers, the dynamic transformation of the genre structure. The article demonstrates a wide genre spectrum of Kazakh fantasy books and their authors. In the novel Resurrecting Legends Timur Yermashev turns to the heroic page in the history of the Kazakhs – the Orbulak battle of the 17th century. Ilyaz Nurgaliyev consistently works with national myths and folklore images of the Turkic peoples. Azamat Baigaliev and Kira Nurullina write about aliens. Sabyr Kairkhanov in the format of urban fantasy (the novel Synchro) raises the question of the ambiguous role of the Semipalatinsk test site in the life of the Kazakhs. An example of the combination of children’s and adventure fantasy is the novel by Zira Naurzbayeva and Lily Kalaus In Search of the Golden Bowl: The Adventures of Batu and His Friends. Particularly popular are fantasy texts with plots based on the facts of national history, those resurrecting the heroes of Kazakhstani mythology, national traditions and customs. The themes and poetics of Kazakh fantasy are in line with the processes developing in modern prose, the nature of the transformation of the genre correlates with the changing readership. Fantasy readers are mainly representatives of a certain social and age group, those attracted by the topical issues raised – the growth of national self-consciousness – combined with an exciting adventurous plot. The entertaining genre of popular literature has taken on an important ideological function – to promote and shape the national identity of the Kazakhs in a situation of geopolitical changes.
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Honegger, Thomas. "(Heroic) Fantasy and the Middle Ages – Strange Bedfellows or an Ideal Cast?" Itinéraires, no. 2010-3 (November 1, 2010): 61–71. http://dx.doi.org/10.4000/itineraires.1817.
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Pallone, Nathaniel J., and James J. Hennessy. "Counterfeit courage: Toward a process psychology paradigm for the “Heroic rescue fantasy”." Current Psychology 17, no. 2-3 (June 1998): 197–209. http://dx.doi.org/10.1007/s12144-998-1006-7.
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Walsh, Richard Gregg. "The Hollywood Gospel and its Scholars." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, no. 1 (June 5, 2010): 95–111. http://dx.doi.org/10.1558/post.v4i1.95.
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Stigmata, a 1999 film, dramatizes the recovery of a lost Jesus gospel by placing it within the story of the possession of an atheist beautician, who is also a stigmatic. The discovery of the reason for her possession and her exorcism leads ultimately to the publication of the lost, now found gospel. Stigmata cadges selections from the Gospel of Thomas together to create this gospel, which is a version of the Hollywood gospel hallowing the heroic individual above all things and empowering the fantasy of the subjective, expressive individual. This Hollywood gospel—unlike the Gospel of Thomas—is also scientific (or, at least, empirical and pragmatic), materialist, and democratic. It is, in short, a belated, peculiarly American form of gnosticism. Intriguingly, Stigmata’s drama also sheds some light on scholarship, revealing among other things the cultural embeddedness of scholarship and its interaction with popular fiction, particularly at the points of lost gospels and the notion of heroic individuals struggling against corrupt institutions.
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Abdul Aziz, Sohaimi, and Rohaya Md Ali. "Adaptation of Hikayat Hang Tuah in Children's Literature." Malay Literature 25, no. 2 (December 8, 2012): 261–85. http://dx.doi.org/10.37052/ml.25(2)no6.
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Hang Tuah is a character in the epic Hikayat Hang Tuah which has become the pride of Malay Literature. The epic, and especially the protagonist of the epic, Hang Tuah, have been much discussed. This is also the case where children’s literature is concerned, as the Hikayat Hang Tuah has attracted the attention of Malaysian authors to produce adaptations of stories from this epic. The stories linked to the character of Hang Tuah contain many elements of fantasy which makes them suitable for adaptation as children’s literature. Establishing what types of adaptations have been made of these stories forms the core of this study. Also, the acceptance of Hang Tuah as a hero of the Malays has been challenged by movements, especially in social realism. As a result, the character of Hang Jebat has become accepted as a heroic figure instead. However, whether or not social realism has influenced adaptations done for children, and whether there has been a shift in the figure of hero as a result of social realism are still unanswered questions which this study addresses. This study has found that adaptations of stories about Hang Tuah for children are mainly partial adaptations, and that the stories chosen for adaptation are especially those containing strong elements of fantasy. Illustrations are also an element in these partial adaptations. The study has found no trace of the influence of social realism in the adaptations. Hang Tuah is still depicted as a heroic figure while Hang Jebat continues to be depicted as the traitor. Keywords: children’s literature, Hang Tuah, adaptations, social realism, illustrations
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Kumar, Alok, and Minakshi Hooda. "WOMEN FIGURES IN FANTASY ART." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (March 16, 2022): 100–107. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.72.
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People say that “Never judge a book by its cover,” but the cover of the book invites us towards it. I remember, during my college years, of going to a bookstore, named” IDEA” in New Delhi, and buying an expensive book named “ENCHANTMENT” stories by Doris Vallejo, Illustrated by Boris Vallejo. The thing, that attracted me, was cover of the book. At that point of time, I was not prepared for reading stories, but I bought this book because of its illustrations, which enchanted me.In Fantasy Art, we see a visual world and feel a World of Imagination which is a representation of reality. In Fantasy art, we can time travel and become anything of our choosing. This is not the world, we know and live in, but a world of our conceived and perceived imagination.In this imaginative world, female figures, plays a key role in provoking our feelings, invite us, for a heroic journey to explore an unknown world.Through this article, I would like to invite you to join me, on a fantastic journey of this female representation in Visual World and become part of this Fantasy Artwork.To build the idea of FANTASY ART from a linguistic understanding following writings lead us on, the Meriam webster dictionary define art as “The conscious use of skill and creative imagination, especially in the production aesthetic objects; also; works to produce”.In Shabdkosh Hindi Dictionary, “The creation of beautiful or significant things”. “The product of human creativity; works of art collectively”.The definition, I listen in my college is “Art Is Representation of Reality”.Regardless of definition, we all know about what art is and what it is not.Dictionary meaning of word fantasy is “Imagination unrestricted by reality” and fantasy art meaning is, an imaginative world, that could be, may it be, would have been, or could never be. In this imaginative art style, the artwork which can be thought provoking, whimsical, challenging, disturbing, unreal, and challenging of notions of rationality.
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Calkowski, Marcia S. "Is There Authoritative Voice in Ewok Talk?: On Postmodernism, Fieldwork, and the Recovery of Unintended Meanings." Culture 11, no. 1-2 (December 15, 2021): 53–63. http://dx.doi.org/10.7202/1084474ar.
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Postmodernism emphasizes perspectivism, celebrates indeterminacy, and abjures the authoritative voice. Understanding is to be gained dialogically and achieved through participation and performance, activities often synonymous with anthropological fieldwork. However, fieldwork entails the recovery of unintended as well as intended meanings which are, in turn, invariably situated in a hermeneutical hierarchy. This paper points up the inevitability of constructing such a hierarchy by addressing the problem of voice and meaning in the electronically mediated communication that is Ewok speech. Ewoks are fantasy creatures whose heroic manoeuvres figure significantly in the film Return of the Jedi and who are accidental speakers of Tibetan.
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Hoofd, Ingrid M. "The Migrant Metaphor Within Radical Italian Thought." Cultural Studies Review 11, no. 2 (October 25, 2013): 129–46. http://dx.doi.org/10.5130/csr.v11i2.3663.
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NoBorder activisms and Italian philosophies are highly complicit in the ongoing fortification of the EU and the West, and of the West’s subsequent global hegemonic spread through Eurocentric discourses and technologies. I will show that many radical Italian writings, through a metaphorisation of the ‘migrant’ or ‘refugee’, supplement the alter-globalisation movement in effectively reproducing the Eurocentric fantasy of the Enlightenment subject as the ultimate centre for social change, just as much as those despised EU policies do. I will do so by pointing out that this migrant metaphor functions primarily as a tool to make possible the claim for some sort of hegemonic ‘unification of struggles’ in ‘the new world order’ by these radical Italian thinkers. They will be shown to do so through a doubly romanticising move, leading to both the reproduction of the migrant or refugee as a heroic figure and the acting out of an unfinishable desire for communal self-identification with the migrant, through claims that s/he embodies the transcendental fantasy of the total subsumption of boundaries.
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Utter, Benjamin D. "“Accessories included”: Armed Christians and the mythos of heroic violence." Review & Expositor 117, no. 3 (August 2020): 358–72. http://dx.doi.org/10.1177/0034637320954451.
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The myth of the “good guy with a gun” is a seductive one for Americans, who cite self-defense as the foremost reason for gun ownership, and Pew data show that white, self-identified evangelicals are more likely than members of other faith groups or the average citizen to own and carry a gun. This fantasy of the individual hero’s efficacy is enticing but, I argue, incoherent. Through comparison of past and present Southern Baptist Convention resolutions on gun violence and a close reading of gun rights advocacy rhetoric, I show how biblical language and heroic biblical exemplars are exploited to fuse fantasies of highly individualistic, personal power with a glorification of national power. The iconography of gun manufacturer merchandise perpetrates a misreading of history and Scripture, and, at least implicitly, of medieval romantic texts, as well. Careful attention to gun manufacturer advertising iconography, and to the medieval textual tradition that it appropriates, reveals a warning that the self-authorized hero, lethally “accessorized,” is as likely to threaten the safety of the community he serves as to guard it.
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Bednorz, Magdalena. "Heroine’s journey to love: Spatial rhetoric in romantic subplots in BioWare’s fantasy RPGs." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (June 15, 2021): 191–204. http://dx.doi.org/10.14746/i.2021.38.12.
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This article explores the potential of digital games to encode references encompassing specific cultural ideas of romantic love within their spatial structures, thus helping guide the player’s interpretation of romance as they interact with and move through those spaces. It undertakes an analysis of romantic subplots in BioWare’s fantasy role-playing games, specifically those which reappropriate the courtly love trope, and discusses elements of that remediation which rely heavily on spatial metaphors and structures, including the shared experience of heroic journey, the role of questing for the development of romance, and spatial positioning of lovers on the game map. Through its analysis, the article explores how digital games can employ spatial rhetoric while approaching topics of love, and how they are equipped to represent the materiality and spatiality of love and love narratives.
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Callahan, Jamie L., and Carole Elliott. "Fantasy spaces and emotional derailment: Reflections on failure in academic activism." Organization 27, no. 3 (March 1, 2019): 506–14. http://dx.doi.org/10.1177/1350508419831925.
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Against a backdrop of contentious political landscapes of Brexit and the Trump victory, we reflect on our own experience of an attempt to engage in an activist event for academics that failed. We contend that our experiences of failure in this event, revealed by fantasy spaces and emotional derailment, serve as lessons for reinvigorating possibilities for academic activism. To provide background, we describe an event designed to form a policy as a collective response to the populism of Donald Trump. We then reflect on our role as critical scholars in this event that failed to meet our objective and taught us other important lessons. Our analysis leads us to address three orthodoxies: diatribes decrying the awfulness of Trump and his administration cronies create fantasy spaces that might ‘feel’ good, but are actually counterproductive; academia itself is a site for activism that has far-reaching implications; and hiding failure is a form of collaboration with performativity. Our provocation is, in part, to resist the ‘heroic’ and grandiose success story narrative—both in academia and activism. We do this by foregrounding vulnerability through sharing our own story of failure and reflecting on some of the devices that derailed our attempt at academic activism.
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Albom, Sarah. "The Killing Roll: The Prevalence of Violence in Dungeons & Dragons." International Journal of Role-Playing, no. 11 (December 20, 2021): 6–24. http://dx.doi.org/10.33063/ijrp.vi11.281.
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This research project explores the prevalence of violence and its facilitation in the popular tabletop role-playing game (TTRPG) Dungeons & Dragons (D&D). Violence within the system’s 5th edition core rulebook, the Player’s Handbook (Wizards of the Coast 2014b), is analysed using textual analysis with insight from previous research on common violence motivators of heroism, hatred, and sensation-seeking curiosity. Overall, the study concludes that the D&D system facilitates playing violence, specifically through heroic motivation based on androcentric perceptions of chivalric fantasy ideals. This study also finds that the system spotlights combat over nonviolent interactions. Future research could investigate how participant agency may affect violence in similar traditional RPG systems, and why choosing violence in a no-consequence game could reflect real-world behaviours.
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Luengo Gascón, Elvira. "Transmedialidad, multimodalidad, semiótica y "heroic fantasy" en la literatura infantil y juvenil de la era digital." Ondina - Ondine, no. 6 (September 7, 2021): 1–11. http://dx.doi.org/10.26754/ojs_ondina/ond.202165900.
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Luengo Gascón, Elvira. "Transmédialité, multimodalité, sémiotique et "heroic fantasy" dans la littérature d'enfance et de jeunesse à l'ère numérique." Ondina - Ondine, no. 6 (September 7, 2021): 12–22. http://dx.doi.org/10.26754/ojs_ondina/ond.202165907.
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Башкирова, Ольга. "LITERARY REFLECTION OF THE WAR IN THE WINNING WORKS OF THE CONTEST “HEROIC NATION CREATES HEROES” : GENRE AND STYLE FEATURES." Слово і Час, no. 1 (February 28, 2024): 39–55. http://dx.doi.org/10.33608/0236-1477.2024.01.39-55.
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The paper deals with the genre features and stylistic trends of short prose texts presented at the Open Patriotic Festival-Contest in Kyiv Borys Hrinchenko University (June 2022). The aim is to understand the artistic features of the works by young Ukrainian authors written after February 24, 2022. The dominance of short genres is determined by the fragmentation of the world picture and the awareness of the gap between the past and the present. At the same time, the paper pays due attention to the actualization of mythological thinking based on the understanding of the metaphysical nature of war.
The genre of the literary diary is undergoing a process of hybridization. The factual nature of diary entries often interacts with the genre forms of interviews, reports, and various structural modifications of the short story. The stylistic, topical, and compositional variability of the short story is examined within the context of the significant literary tradition established by Ukrainian modernism, while noticeable neo-realist and neo-populist tendencies shape the authors' pictures of the world as well. For modern authors, the relevance of populism and realism as literary systems is explained by the need for a trustworthy representation of the war events and the development of plot models that are familiar and understandable to a wide range of readers. The paper also explores ways of updating the genres of parable and vision, with which the short story actively interacts. The fantasy genre is interpreted from the perspective of postcolonial criticism. The world of fantasy, based on neo-mythological thinking, actualizes important existential problems of memory, national identity, and resentment in the modern context. Resentment as a natural reaction to the actions of the enslaver reveals its constructive nature, awakening the will to fight and win.
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Crane, Jonathan L., and Christine S. Davis. "Baby, Let Me Follow You Down." Qualitative Inquiry 22, no. 10 (September 21, 2016): 807–17. http://dx.doi.org/10.1177/1077800416667696.
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In this article, we examine the love–death dialectic through a mosaic of story and song. Layering personal narrative and musical chronicles about love, life, and death—from the heroic to the tedious, the passionate to the mundane, the tragic to the contented, the transgressive to the faithful, and fantasy to reality—we consider the marriage of love and loss in narratives where multiple instantiations of the truth mix and mingle. We use these disparate creations to evocatively dramatize the magnetic allure of endless, inexhaustible love in light of our inevitable extinction. The love impulse, says Becker, is the antithesis to the fearful losses that mark our long descent to the grave. Following Becker’s lead, we take the measure of idealized passion in enduring relationships and assert the catalytic dynamism of heroic transcendence in everyday intercourse. From the storybook tales we author with family, lovers, and other close conspirators, sagas of romance, lasting companionship, marriage, hearth and home, birth and death; to the songbook—with a focus on splatter platters—the trite songs of teenage tragedy and mayhem produced in the last half of the 20th century and still popular into the 21st—juxtaposed with German Romantic opera, we examine how celebrated artists, Brill Building songsmiths, and everyday dreamers aestheticize love, life, and death. In pillow talk, in conversational idylls, and in song, what we say about love tells us what it means to live, to desire, and to die.
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PRADO, SANDRA D., SILVIO R. DAHMEN, ANA L. C. BAZZAN, PADRAIG MAC CARRON, and RALPH KENNA. "TEMPORAL NETWORK ANALYSIS OF LITERARY TEXTS." Advances in Complex Systems 19, no. 03 (May 2016): 1650005. http://dx.doi.org/10.1142/s0219525916500053.
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We study temporal networks of characters in literature focussing on Alice’s Adventures in Wonderland (1865) by Lewis Carroll and the anonymous La Chanson de Roland (around 1100). The former, one of the most influential pieces of nonsense literature ever written, describes the adventures of Alice in a fantasy world with logic plays interspersed along the narrative. The latter, a song of heroic deeds, depicts the Battle of Roncevaux in 778 A.D. during Charlemagne’s campaign on the Iberian Peninsula. We apply methods recently developed by Taylor et al. [Taylor, D., Myers, S. A., Clauset, A., Porter, M. A. and Mucha, P. J., Eigenvector-based centrality measures for temporal networks, CoRR (2015).] to find time-averaged eigenvector centralities, Freeman indices and vitalities of characters. We show that temporal networks are more appropriate than static ones for studying stories, as they capture features that the time-independent approaches fail to yield.
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Szmigiero, Katarzyna. "Reflexivity and New Metanarratives. Contemporary English-language Retellings of Classical Mythology." Discourses on Culture 20, no. 1 (December 1, 2023): 85–108. http://dx.doi.org/10.2478/doc-2023-0012.
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Abstract The turn of the millennium has brought a revival of interest in the ancient Greek and Roman texts. Obviously, the legacy of antiquity is a permanent feature of Western literature and visual arts; yet, its contemporary manifestation has taken a novel form, that of a retelling. It is a new trend in which a well-known text belonging to the canon is given an unorthodox interpretation, which exposes the ethnic, class, and gender prejudices present in the original. Mythological retellings are often written in an accessible manner containing features of genre fiction, which makes the revised version palatable to ordinary readers. A characteristic feature of mythic fantasy is the shift of focus from heroic exploits to private life as well as putting previously marginal characters into limelight. The retellings are a consequence of new, reflexive research angles that have appeared in the field of the classics.
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Zhang, Ziyi. "An Analysis of the Female Images in Tolkiens Works: Galadriel, owyn and Arwen." Lecture Notes in Education Psychology and Public Media 41, no. 1 (March 14, 2024): 205–11. http://dx.doi.org/10.54254/2753-7048/41/20240650.
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John Ronald Reuel Tolkien is well recognized for his notable contributions to the genre of heroic romances, as shown by his renowned works, namely The Hobbit and The Lord of the Rings. Consequently, he is widely regarded as the progenitor of contemporary fantasy literature. The study aims to examine the principal female characters in the works of J.R.R. Tolkien, namely Galadriel, owyn, and Arwen, employing textual analysis and comparative study as the primary methods. The former two individuals serve as exemplars of female warriors, characterized by their courage, strength, unwavering convictions, and relentless pursuit of their aspirations. The latter represents a somewhat less favorable portrayal of the female image. Arwen, being designated as the "second sex", is shown with a dearth of individual narratives and distinct characteristics, primarily serving as a supporting figure to the male protagonists within the story. Nevertheless, despite the deficiencies in Tolkien's depiction of female representations, the merits of his work ultimately surpass the drawbacks.
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KIM, HYEIN. "Beyond authenticity, an Entrepreneurial autobiography as a method - Traversing the fantasy of the heroic entrepreneur in the 90s -." Institute of Humanities 47 (November 30, 2022): 1–36. http://dx.doi.org/10.46270/ssw.47.1.
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Hodge, James L. "New Bottles-Old Wine : The Persistence of the Heroic Figure in the Mythology of Television Science Fiction and Fantasy." Journal of Popular Culture 21, no. 4 (March 1988): 37–48. http://dx.doi.org/10.1111/j.0022-3840.1988.00037.x.
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Ní Mheallaigh, Karen. "THE ‘PHOENICIAN LETTERS’ OF DICTYS OF CRETE AND DIONYSIUS SCYTOBRACHION." Cambridge Classical Journal 58 (November 26, 2012): 181–93. http://dx.doi.org/10.1017/s1750270512000103.
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Dictys of Crete's Journal of the Trojan War seems to invite the reader to imagine two different versions of the imaginary ancient Ur-text: one that was written in Phoenician language and script, and another that was written using ‘Phoenician letters’ but whose language was Greek. What is the meaning of the text's different fantasies of its own origins? And how is the reader to understand the puzzlingly implausible Punico-Greek text that is envisaged in Septimius' prefatory letter? This article examines first why the Journal's fantasy Ur-text changed as the Dictys-text itself evolved, and what the text's fiction of its own origins can tell us, not only about its readers' contemporary context, but also about their fantasies about their own literary past – and future as well. Secondly, comparison with the work of Dionysius Skytobrachion, himself the author of a pseudo-documentary Troy-history, offers a new interpretation of what, precisely, Septimius' ‘Punic letters’ may have represented in ancient readers' minds, and opens up a new (imaginary) literary hinterland in the heroic past for the fictional author Dictys and his text.
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López-Valero, Amando, Eduardo Encabo-Fernández, and Isabel Jerez-Martínez. "Digital Competence and Literacy: Developing New Narrative Formats. The «Dragon Age: Origins» Videogame." Comunicar 18, no. 36 (March 1, 2011): 165–71. http://dx.doi.org/10.3916/c36-2011-03-08.
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The approach of this article is centered on the concepts of digital competence and new narrative formats. We aim to apply these dimensions to the videogame «Dragon Age Origins», winner of the 2009 videogame of the year award. Its features - plot, characters and interactivity – make it ideal reading material in other formats and are highly motivational for young people. The development of digital competence signifies new literacy, and it is necessary to find new stimulating resources that combine the fun and formative dimensions. Equally relevant are multimodal texts (Kress & Van Leeuwen, 2001), especially new narrative formats that imply social progress, as the ways of reading are different. The texts have acquired new formats with the same quality as books but they sometimes motivate users more. This is the case of «Dragon Age Origins», a dark heroic fantasy role-playing game set in a unique world containing a story to be read and experienced. Our analysis of the videogame discusses whether it should be considered a form of reading or not.Este artículo tiene como ejes conceptuales la competencia digital, la literacidad y los nuevos formatos narrativos. El aprendizaje permanente incluye las mismas como claves de la formación de la persona y sobre todo, como elemento que va a contribuir a su inserción en una sociedad dinámica y cambiante. Tras analizar dichas dimensiones, las mismas serán reflejadas en el videojuego denominado «Dragon Age: Orígenes», galardonado con el premio juego de rol del año en el año 2009. El desarrollo de la competencia digital conlleva una nueva alfabetización y en la misma es preciso hallar recursos motivadores para que dicha adquisición sea a la vez una cuestión lúdica y formativa. Otro aspecto relevante que será tratado en el texto tiene que ver con la multimodalidad textual (Kress & Van Leeuwen, 2001), sobre todo con los nuevos formatos narrativos. Este hecho supone un importante avance social ya que las formas de lectura varían apareciendo formas distintas más motivadoras para el usuario pero no por ello poseen menor calidad. Éste es el caso de «Dragon Age: Orígenes», un juego de rol basado en la fantasía heroica ubicado en un mundo novedoso. Dicho juego se convierte en una excelente historia para ser leída y experimentada.
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Sengupta, Sohini. "Empowering Girlhood Journeys: Feminist Mythic Revision in Contemporary Indian Diaspora Children’s Fiction." International Journal of English Literature and Social Sciences 7, no. 3 (2022): 248–52. http://dx.doi.org/10.22161/ijels.73.37.
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There had been relatively little interest in a narrative of female individuation within mythology. Revisionist myths and legends in contemporary literaturehave thus addressed issues of women’s identity and autonomy while redesigningthe gendered spaces in these cultural narratives. The need for alternative mobility arcs within the cultural imaginary was also recognized for adolescent girls in their quest for subjectivity.This paper thus explores two works of children’s fiction, viz. Sayantani Dasgupta’s Game of Stars(2019) from the Kiranmala and the Kingdom Beyond series and Roshani Chokshi’s Aru Shah and the End of Time (2018) as coming-of-age immigrant narratives where young girls undergo heroic adventures restructuringIndian mythology and Bengali folktales. Dasgupta’s Kiranmala and the Kingdom Beyond series intertwines intergalactic science and Bengali folktales, mostly from the Thakumar Jhuli (1907), meshing different fairy tale characters aidingthe adolescent female protagonist Kiranmala, who isa neotericgutsy counterpart of the warrior princess in Dakshinaranjan Mitra Majumder's fairy tale collection.At the same time, Roshani Chokshi’s Aru Shah fantasy adventure series celebrates the Indian heritage of Hindu mythology (particularly the Mahabharata) in the diaspora, while empowering young immigrant girls to imagine and undertake non-normative feminist voyages.
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Cedro, Carmel. "Just add nostalgia and stir: Mythmaking Australian femininity through Anzac Biscuits, collective commemoration and heteronormativity." Australasian Journal of Popular Culture 8, no. 2 (September 1, 2019): 229–43. http://dx.doi.org/10.1386/ajpc_00007_1.
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Many sweet foods featured in contemporary Australian cookbooks are indelibly connected to culinary tradition and use nostalgia to encourage a sense of collective identity and experience. Anzac Biscuits exemplify this through ubiquity and familiarity, and the annual baking ritual becomes a collective commemoration that shapes ideologies of identity and myth, which are somewhat central to understanding the Australian experience. Yet the mythology around the biscuits is flawed. The recipe recognizable today as Anzac Biscuits can be traced from the 1920s onwards in Australian cookbooks, which calls into question the veracity of the well-told story of women on the home front baking and sending the biscuits to the Anzac trenches during the First World War. This article will examine the parallels between Australian traditions of baking culture and the functional value of the Anzac myth, and the way both seem to reaffirm cultural standards, and attempt to secure gender ideals by presenting unattainable fantasies. While the Australian interpretation of the Anzac myth reinforces a certain unattainable ideal of heroic masculinity – with courage, determination and sacrifice for nation – contemporary cookbooks reflect a romanticized domestic fantasy that centres on family and feminine practice, both heavily reliant on proscriptive heterosexuality and heteronormativity, enhanced and polished via a nostalgia-tinged lens.
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Yap, Kevin Yi-Lwern, Shawn Ignatius Boon Heng Tan, Kai Zhen Yap, and John Yin Gwee Yap. "Students’ perceptions of an in-house developed pharmacy serious game for professional skills training." BMJ Simulation and Technology Enhanced Learning 6, no. 5 (March 18, 2020): 293–96. http://dx.doi.org/10.1136/bmjstel-2019-000547.
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BackgroundAn in-house three-dimensional (3D) multiplayer online role-playing game was developed for professional skills training of pharmacy students. Students play the game in a post-apocalyptic world to save humankind from zombies. They solve virtual patient encounters through visual and motion-capture technologies. Their gaming perceptions and experiences were investigated.MethodA self-administered questionnaire obtained participants’ demographics, gaming interests, perceptions of game effectiveness, preferences on gaming elements and gameplay experience through the Game Engagement Questionnaire (GEQ). Pre-gameplay and post-gameplay assessments were tracked to assess student learning. Descriptive statistics and paired sample t-tests were used for analysis.ResultsFifty-five students were recruited. Two-thirds of the gameplay group (67.9%) liked the post-apocalyptic fantasy settings and heroic storyline (66.0%). Three quarters liked the modern setting (73.1%), authentic plots (73.5%) and plot animations (72.3%). Participants felt the game was effective in training health communication and patient history-taking skills (81.8%). Participants’ test scores for counselling increased from 66.1%±7.6% (pre-gameplay) to 70.3%±8.0% (post-gameplay, p=0.004). The highest scoring GEQ dimension was sensory and imaginative immersion (2.92±0.74).ConclusionStudents found the game useful for pharmacy professional skills training. With proper implementation, this game can become a useful tool to enhance student learning and gear them towards clinical practices.
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Medic, Milena. "From pain to pleasure: The troping of elegy in the renaissance Italian madrigal." Muzikologija, no. 22 (2017): 151–75. http://dx.doi.org/10.2298/muz1722151m.
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In the Renaissance period, melancholia emerged as a dramatic cultural phenomenon among the intellectual and artistic elites, with a locus in elegy it gave form to the Renaissance poetics of loss, pain and shedding of tears, expressing essentially the fantasy about death as a prerequisite for revival. The possibilities of confronting the threats of death were being found in its very nature whose inherent ambiguity was determined by the principles of Thanatos and Eros. The creative act of the troping of elegy proved to be an effective literary and musical strategy for the transcendence of death including the procedures of homeopathization, pastoralization, heroization and erotization of elegy. The elegiac tropic transcendence of death found its most complex expression in the madrigal which in turn added to its basic polyphonic procedure the opposing stylistic elements of the pastoral genres (canzonettas and villanellas) or heroic solo or choral recitations and it consequently acquired a hybrid form in the last decades of the 16th century, and thereby proved to be a cultural trope itself. The aim of this article is to examine the musical implications of the tropic strategies of facing death within Francesco Petrarch?s, Torquato Tasso?s, and Battista Gurini?s poetic models of the art of loving death, using the remarkable examples of the Italian madrigal practice of the late Renaissance.
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Baranov, Dmitrii K. "On the poetics of mass literature (Alexander Bushkov’s dilogy A Knight from Nowhere and Flying Islands)." Vestnik of Saint Petersburg University. Language and Literature 18, no. 4 (2021): 640–60. http://dx.doi.org/10.21638/spbu09.2021.401.
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Mass literature can be analyzed not only as sociological material or as a background for firsttier literature, but also as an independent phenomenon of the aesthetic sphere. Authors of commercially successful literature create more complex texts than their less successful competitors. However, the complexity of the structure of mass works lies not in the philosophical premise, not in the motive system and other aspects of the text that are important for classical literature, but in how specific techniques aimed at keeping the reader’s attention at every moment of time become more complex. In the article, the dilogy of Alexander Bushkov is analyzed from the point of view of language, the structure of the fantastic world, from the point of view of the ways of forming relationships between the depicted world and external reality, between the main character and the reader, as well as from the point of view of the plot and some popular compositional structures. Particular attention is paid to how the illusion of “autonomy” of the depicted world is created. The proposed analysis reveals that Bushkov in his novels not only reproduces features that are generally characteristic of the so-called heroic fantasy. He finds ways to complicate traditional techniques. Thus, it is demonstrated that successful mass authors have enough freedom within the framework of the genre canon. This could not have been detected using the typological approach, which is widespread in modern literary criticism.
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Septi, Katarina, and Ribut Basuki. "PROJECT: SCREENPLAY GOING HOME." K@ta Kita 5, no. 1 (July 18, 2017): 90–94. http://dx.doi.org/10.9744/katakita.5.1.90-94.
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This paper explained the process and the result of my final project which is a screenplay entitled Going Home. The screenplay is about Dahlia, a thirteen-year-old girl who was born and grew up in Australia. Then, she has to return to Jakarta, Indonesia and continue her education in Indonesia. She has an assignment about history of Indonesia. She needs to write one of heroic history of Indonesia with her own words and write her reflection about it. Once, she goes to Surabaya for a holiday and stays at Majapahit Hotel Surabaya. In the hotel, she experiences the past life about several historical moments by going back and forth to a past life and present life. After experiencing it, she can feel and understand the spirit of the Indonesian revolutionary heroes. She respects Indonesia heroes more. Also, she can encourage her friends to love Indonesia better and to blend in diverse group of ethnics as strong and one Indonesian who support to improve Indonesia. I would like to show that young generations are now lack the spirit to build their country. They forget to become one; One Land, One Nation, One Language. This creative work focuses on how history of Indonesia can help young generations to gain the spirit of Indonesian revolutionary heroes to love and improve Indonesia. To put this issue into a form of entertainment, I decided to make a screenplay which type of genre is adventure fantasy.
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Holzapfel, Otto, Bo Almqvist, Seamas O. Cathain, and Padraig O. Healai. "The Heroic Process. Form, Function and Fantasy in Folk Epic. The Proceedings of the International Folk Epic Conference University College Dublin, 2-6 September 1985." Jahrbuch für Volksliedforschung 33 (1988): 204. http://dx.doi.org/10.2307/847800.
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Gutiérrez Delgado, Ruth. "El “caballero de frontera” en The Mandalorian (Disney+ 2019-2020)." Revista de Comunicación 21, no. 1 (March 18, 2022): 215–30. http://dx.doi.org/10.26441/rc21.1-2022-a11.
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En este artículo propongo el concepto de caballero de frontera para definir el prototipo heroico que surge de la conversión de dos géneros narrativos: el space-western y la fantasía épica o heroica. Este concepto se aporta tras la re-visitación del héroe de frontera en la serie The Mandalorian (Disney+, 2019-2020), de acuerdo con algunos rasgos propios del concepto medieval de caballero andante. El arquetipo del héroe de frontera se adscribe al subgénero de space-western, donde recibe su condición de outlaw; sin embargo, gracias a los elementos de fantasía épica que hereda de su pertenencia al universo de Star Wars, el héroe sufre una transformación paulatina en el desenvolvimiento de su misión que lo acerca al caballero andante. Por ello, el objetivo de este artículo es doble: por un lado, categorizar ese arquetipo heroico surgido de la combinación de dos géneros cuyas narrativas presentan semejanzas a través de la figura del outsider como protagonista. Por otro lado, para tal objetivo, se explora una metodología mixta entre la semiótica y la hermenéutica en la cual se aplican los conceptos de desplazamiento metafórico y de relación por semejanza.
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Thirard, Marie-Agnès. "Les ancêtres d'Ogrest, ogres et géants: mythe ou réalité?" Ondina - Ondine, no. 6 (September 7, 2021): 69–85. http://dx.doi.org/10.26754/ojs_ondina/ond.202165113.
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Les géants sont nombreux dans les jeux- vidéo et les productions filmiques contemporaines. Or ces êtres plus ou moins monstrueux ont des ancêtres qui remontent à la nuit des temps. Ils relèvent aussi bien de la tradition populaire que de la culture savante. Cet article propose un parcours dans le pays des géants. Partant de la mythologie grecque et de la Bible, il s'intéresse au monde de la merveille, en privilégiant les grands contes lmittéraires français , en particulier les contes de Mme D'Aulnoy, contemporaine de Charles Perrault .Le parcours cite aussi quelques créations poétiques de la littérature française du XVIè au XIX è siècle et se termine sur l'évocation de l'univers contemporain de l'heroic fantasy. Mots-clés : géant, ogre, mythologie, contes merveilleux, heroïc fantasy.
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Gnyusova, Irina F. "Titles of editions: Between advertising and pragmatics." Tekst. Kniga. Knigoizdanie, no. 30 (2022): 126–39. http://dx.doi.org/10.17223/23062061/30/8.
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The title, as one of the most important elements of any publication, has a dual nature. The aim of the article is to evaluate the correlation of advertising and pragmatic functions in the titles of modern mass literature publications. The study was conducted on the basis of an experiment. Thirty-four titles of fiction publications were the material for it; these are books by the Eksmo Publishing House, published in the first half of February 2022. Respondents were asked to choose no more than five titles of books that they would like to read. After that, they had to briefly describe what they thought each selected book was about. Eighty-five people took part in the survey. Successful book titles (chosen by more than 10% of respondents) and unsuccessful ones (chosen by fewer than 5% of respondents) were taken for further research. All of them were divided into three groups - depending on how accurately the respondents were able to determine the subject, genre or content of the book. The study confirmed the hypothesis that the title of the book should clearly indicate to the potential reader what kind of work awaits them. In some cases, lexical “marking” of a genre orientation is enough for this. According to these signs, the titles Soul Catchers (“souls”: fantasy, mysticism), Looking at the Sea (“sea”: romance), People Are Stronger Than Walls (heroic pathos of comparison) and even Show of Family Secrets (“secrets”: detective, thriller) were correctly interpreted. On the contrary, the title Thrice Risen was associated with mysticism, philosophy, although the genre of the work turned out to be different. The pragmatic component can also be provided by a capacious reflection of the subject matter of the work. On this basis, the problems of books with the titles When Mom is You (“Mom”: the theme of motherhood and relationships with children) and partly Chronicles of the Asylum (“Asylum”: the theme of borderline states of the psyche) were correctly “read”. But the title A Career Requires Sacrifice can be considered unfortunate, since it evoked clear (but false) associations: the difficulty of balancing a career and personal or family life. The book title can also be associated with the text by its style. Thus, the title Looking at the Sea seemed “soft” and “lyrical” to the respondents, which corresponds to the idea of a sentimental novel. In the course of the experiment, the most serious errors of publishers when approving the title were also revealed. One of them is the choice of a title similar to another well-known one (The Mentalist, The Ice Heart). Another common problem is the ambiguity of the title when it includes completely unknown words (The Pursuit of the Pankera) or using complex metaphors (Windows in the Clouds, Rapid Jelly). It is proved that a successful title should be informative and should clearly indicate the genre, thematic focus, problems and style of the work. It also should not contain excessive pathos, should not be stereotyped and should be original enough. The author declares no conflicts of interests.
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Castro Balbuena, Antonio. "El héroe crepuscular como arquetipo mítico en la fantasía épica contemporánea. Geralt de Rivia, entre la luz y la oscuridad." ACTIO NOVA: Revista de Teoría de la Literatura y Literatura Comparada, no. 6 (December 29, 2022): 54–82. http://dx.doi.org/10.15366/actionova2022.6.003.
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El objetivo de este ensayo es definir el arquetipo nuclear del protagonista prototípico de la fantasía épica contemporánea. Para ello, se tomará como base la teoría de los arquetipos de Jung, a la que se suman una visión actualizada del concepto de héroe en la sociedad actual, el concepto de mitologema, el de monomito y el ciclo solar heroico de Sellier, así como diversas observaciones extraídas de ejemplos de fantasía épica. Una vez dibujado el arquetipo que aquí se plantea, llamado héroe crepuscular, se analiza el personaje Geralt de Rivia para demostrar la aplicabilidad de estas teorías.
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Flores, Emil. "The Concept of the Superhero in Filipino Films." Plaridel 2, no. 2 (August 1, 2005): 23–38. http://dx.doi.org/10.52518/2005.2.2-02eflrs.
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This essay examines a number of Filipino superhero films (Captain Barbell, Darna and Lastikman) and how a uniquely American creation was “Filipinized,” taking into account the cultural and social aspects of the Pinoy superhero as demonstrated in the films. For the first time in Filipino film history, three superhero films were included in the 2003 Metro Manila Film Festival. While the producers were most likely following the popular trend in Hollywood, the films Fantastic Man, Captain Barbell, and Gagamboy, still reflect the Filipino longing for a hero to look up to. All films were big box-office hits. Just as 9/11 gave rise to the popularity of fantasy and superhero films in Hollywood, societal ills and the 2004 elections have fanned the flames of fantasy heroics in Filipino commercial films. While the American heroes (e.g. Captain Marvel, Superman, and Wonder Woman) have heavily influenced the Filipino superheroes, several aspects of Filipino culture and society are still evident in the films. It is also noteworthy that the comic book industry that created the superheroes is now experiencing a severe drop in popularity. Thus, film is now the medium that showcases the superheroes. The movie versions of these heroes have a history in film that is almost as long as the comic book versions, and modern audiences are more familiar with the movies than the comics.
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Jardim, Jéssica Cristina. "A sombra do mártir: visões da morte na peça histórica romântica Bartolomeu de Gusmão, de Agrário de Menezes." Brasiliana: Journal for Brazilian Studies 7, no. 1 (December 28, 2018): 132–48. http://dx.doi.org/10.25160/bjbs.v7i1.107988.
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O presente artigo reflete sobre a fascinação pela morte e pela queda do heroi na dramaturgia romântica brasileira. Por meio de uma comparação com outros gêneros, como o épico e o lírico, de acordo com as contribuições teóricas de Hegel (2014; 2001), buscamos analisar o drama histórico Bartolomeu de Gusmão, publicado em 1865. Na obra de Agrário de Menezes, como também na de outros dramaturgos do romantismo brasileiro, as dificuldades impostas à ação heróica e a perspectiva de falha formam parte integrante da configuração da ação. O drama tem como assunto a vida – e a morte – de Bartolomeu Lourenço, o padre inventor da “Passarola”, uma máquina voadora. Menezes põe em cena um personagem morto – o fantasma do padre – modificando os eventos históricos e inserindo o tema do sobrenatural. Indicando suas similaridades e dissimilaridades com outros dramas históricos, a análise mobiliza conceitos como heroi, mártir, ação e acontecimento.
Palavras-chave: Bartolomeu de Gusmão; peça histórica; heroi; dramaturgia romântica; Agrário de Menezes.
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Piterman, Hannah. "The Leadership Challenge: Rediscovering the Voice of Reason." Organisational and Social Dynamics 10, no. 2 (October 31, 2010): 180–206. http://dx.doi.org/10.33212/osd.v10n2.2010.180.
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In this paper, I argue that the idealisation of the market economy has perverted the spirit of competition, rendering it uncontained, without boundary, and devoid of superego. I refer to this idealised state as the dark side of competition. It is underpinned by a culture of rationalism untempered by reflexivity, which has occurred by stealth, gradually enveloping parts of western capitalist society in a belief system and behaviours which are regressive and which have seen an increasing split between reality and fantasy. Narrow success indicators have rewarded an adolescent notion of masculinity, manifested in excessive heroics, toughness, and risk taking that has led to corporate collapses unprecedented in recent times. Aggressive and exclusionary dynamics have seen the repudiation of the feminine, with the resulting loss of capacity for reason, moderation, and boundary. A fine balance has been tipped, and the fragility of the system exposed.
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Kolesnik, A. S. "Warriors of Steel: Representations of Machinery and Technology in British Heavy Metal of the 1980s." Art & Culture Studies, no. 4 (December 2021): 362–81. http://dx.doi.org/10.51678/2226-0072-2021-4-362-381.
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The New Wave of British Heavy Metal is a remarkable phenomenon in British cultural history of the 1980s. Trying to identify themselves and to indicate their reaction to the social and political context in the UK, young musicians turned to the representation of fantastic worlds. The language of the “fantastic” in early British heavy metal was primarily associated with themes of mechanization, heroics, epics, mythology, fantasy and science fiction. The musical form was often emphatically epic and majestic, designed to create an audio picture to the lyrics. Visual representations — large-scale, spectacular, often theatrical live performances — played an important role in the representation of the “fantastic”. The semiotic element consisted of the signs and symbols of heavy metal (mascots, occult themes, mythological creatures, technocratic motives), which were reflected not only in the design of album covers and the metal bands names, but also in the clothes and behavior of musicians and their fans. The paper examines the specifics of the fantastic language of the New Wave of British Heavy Metal bands and, first of all, the representation of technogenic motives: how machines and robots were depicted, what techniques were used to create machine soundscapes, how this topic was played up within live performances, and finally, what cultural significance did references to machines and technology have.
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Peláez, Sol. "El republicanismo como terror femenino." Res Publica. Revista de Historia de las Ideas Políticas 25, no. 1 (January 9, 2022): 75–85. http://dx.doi.org/10.5209/rpub.75749.
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Este ensayo lee Materialismo Salvaje de Jacques Lezra siguiendo la ética del terror que propone el autor en su pensamiento del republicanismo. Específicamente rastrea en el texto el terror del encuentro con la mujer. De acuerdo con Lezra, el concepto de Mujer es pivote para comprender cómo los conceptos (débiles) emergen. Repetidamente en su obra, el encuentro con la mujer corroe la fantasía del concepto fuerte y del soberano, y surge otra lógica republicana, no escatológica, no heroica, no sacrificial. Nos enfocaremos en el fracaso de la comunidad sadiana y en la emergencia de otra posible comunidad en María Zambrano. Así, este artículo propone una relectura feminista del trabajo de Lezra, rastreando el efecto corrosivo de la mujer en la construcción del concepto y concluye que la estructura de este evento republicano tal como lo piensa Lezra es femenina en términos de las fórmulas de sexuación de Jacques Lacan.