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Relevant bibliographies by topics / Hunters – Fiction

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Academic literature on the topic 'Hunters – Fiction'

Author: Grafiati

Published: 29 July 2024

Last updated: 30 July 2024

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Journal articles on the topic "Hunters – Fiction"

1

Mackenzie, Caroline. "The Chicken Coup." Small Axe: A Caribbean Journal of Criticism 23, no. 2 (July 1, 2019): 89–99. http://dx.doi.org/10.1215/07990537-7703318.

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Poking fun at the traditional American style of hard-boiled crime fiction, this satirical piece follows two misogynistic bounty hunters through the Trinidadian rainforest as they track down the people responsible for humiliating a ruthless mogul of the poultry industry. But the bounty hunters get more than they bargained for when they finally come across the culprits—they discover that now the chickens abused by the poultry mogul are fighting back. Rich with feminist metaphor, this surreal short story emphasizes how even the most seemingly innocuous chicks can overcome the domination and control of old-school chauvinistic thinking.

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Hauan, Marit Anne. "Ei lita bok biter seg fast. Wanny Woldstads fangstmannsberetning." Nordlit, no. 32 (July 23, 2014): 71. http://dx.doi.org/10.7557/13.3071.

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<p>A little book bites stuck. A trapper biography of Wanny Woldstad.</p><p>Wanny Woldstad, who still is a well-known polar hero and made more and more famous the last decades through theater plays, songs and writings, wintered over at Svalbard as a trapper and hunter from 1932-37. She left her job as a taxi driver in Tromsø for a tiny little hut and a hunter’s life in Hornsund together with a man she just met. Nearly 20 years after returning to the civilization she wrote a book about her polar experience. Wintering as trappers and hunters seems to have also in a literary project and a lot of trappers have told them polar stories between book covers.</p><p>Woldstad writes mainly about her first wintering. She is able to share that she in this first year was overwhelmed by her new surroundings; she was thrilled by the opportunity to hunt birds, foxes and polar bears. She describes enthusiastically nature and the hunting situations. Even everyday activities as making food, celebrating Christmas and writing diary are topics. In her book she gives credit to her partner as a teacher and mentor in the field of hunting and trapping. But through her writing she brings her own competence and capabilities in focus. Her book gives a profound knowledge of a year in on hunting station on Svalbard. It is written as a true story – an autobiography although retrospective, but has its elements of fiction.</p>

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Frame, Alex. "Fictions in the Thought of Sir John Salmond." Victoria University of Wellington Law Review 30, no. 1 (June 1, 1999): 159. http://dx.doi.org/10.26686/vuwlr.v30i1.6021.

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A Lecture delivered for the Stout Centre's "Eminent Victorians" Centennial Series in the Council Chamber, Hunter Building at Victoria University on 31 March 1999. The author pays tribute to the late Sir John Salmond by discussing the role of "fiction" in law and in the thought of Sir John. The author notes the nature of fiction as a formidable force, as it facilitates provisional escape from the tyranny of apparent fact and forget about the suspensory nature of fiction. There are three types of "fictions" in the legal world: legislative fictions, whereby the world is refashioned in accordance with the legislator's desires; constitutional fictions, which places fictional boundaries on government rule; and corporate fiction, which creates a fictional corporate personality for companies. The author concludes that it is purpose that keeps fiction honest, and that the relationship between fiction and purpose is just as important as that between hypothesis and fact.

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Pouliot, Amber. "Serena Partridge’s ‘Accessories’: Fabricating Uncertainty in the Brontë Parsonage Museum." Journal of Victorian Culture 25, no. 2 (April 2020): 279–99. http://dx.doi.org/10.1093/jvcult/vcz030.

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Abstract The 1861 sale of the Brontës’ personal effects sent relic hunters scrambling to collect the material remains of the famous family. In the second half of the nineteenth century, the collection, preservation, and veneration of relics, particularly those associated with a writer’s private, domestic life, were important aspects of literary celebrity culture and commemoration, and both the Brontë Society and the original Brontë Museum were established to collect material remains. Yet when Virginia Woolf visited the museum in 1904, she viewed Charlotte Brontë’s clothing, shoes, and accessories with considerable unease. Anticipating the concerns of the literary establishment, Woolf feared that access to Brontë’s material remains would encourage the domestic cult which had formed around her following the publication of Elizabeth Gaskell’s The Life of Charlotte Brontë (1857). She feared it would diminish the importance of Brontë’s writing by privileging a narrative of domestic rather than literary labour. This essay considers the creative-critical intervention of Serena Partridge’s ‘Accessories’ (2016), a collection of newly created pseudo-relics of Charlotte Brontë, framed by semi-fictional narratives that dramatize the construction, use, and significance of her personal possessions. I argue that ‘Accessories’ and biographical fiction are analogous modes of engaging with Brontë’s legacy. They respond to the anxieties articulated by Woolf through the fabrication – both literal and literary – of new pseudo-relics that (rather than emphasizing Brontë’s perceived conventional, domestic femininity) enable multiple interpretive possibilities while simultaneously acknowledging the contingent nature of our understanding of her experience.

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Al-Shamali, Farah. "The City of Baghdad in Iraqi Fiction: Novelistic Depictions of a Spatiality of Ruin." Middle East Research Journal of Linguistics and Literature 3, no. 02 (December 9, 2023): 12–24. http://dx.doi.org/10.36348/merjll.2023.v03i02.002.

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The Iraqi novel has contended with brutish forms of violence for the better part of the past century that have essentially reshaped the narrative experience unto space. Writers are confronted with the challenge of typifying a search for meaning in and amongst character-altering ruin. At the height of its maturity today, as various works convey spatial woundedness particularly in the city of Baghdad, there is a relationship between fiction and urban reality symbolizing an image of complexity. They play host to a fantastical blending of the real and unreal. They see through to the mediational potencies of absurdist violence, one that is acted out this performativity on the page a matter of survival. The selected works respectively depict the pre-revolutionary capital before moving into the bitter decades to follow. Many build worlds that are mired in the crippling present day engaging the normativity of the spatial wound to make sense of the nonsensical. The novels Hunters in a Narrow Street, The Corpse Washer, Frankenstein in Baghdad and Tashari and short story “The Corpse Exhibition” work towards that end. They critically ponder decrepitude and death as it joins life in the realm of the real, legitimate ruination of place as aesthetic in the liminal imaginary and create the conditions with which to imagine the spatial afterlife of destruction. The extracted articulations and thoughts around each are informed by the critical theoretical lenses of three landmark thinkers of space and place and how the latter equates to the emotionality of man. Keywords: Baghdad, Space and place, Literature, Fiction, Wounded identity, War, Ruination, Dystopia.

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Wijaya, Immanuel. "Treasure Hunt: Ethical Egoism vs Individual Anarchism." K@ta Kita 8, no. 1 (March 29, 2020): 116–23. http://dx.doi.org/10.9744/katakita.8.1.116-123.

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This creative project is a novel with an urban-fantasy as the setting and adventure fiction as the plot framework. This novel is depicting a team of a treasure hunters, Michael Harmanto and Lucius Ferdinan. The two of them are trying to find the lost treasures of Kahja, in which they will be asked and tested in their perseverance and ego. In this creative work, I use Egoism as my topic, and I chose on understanding how egoism if applied ethically, can be treated as a good thing as my theme. Through this, I can show the process and the struggle of people clashing and betraying each other in the name of the egoistic desire of reaching their own personal goal. This story, topic, and theme were inspired by how it would be contrasting to the Indonesian philosophy as a nation. The main viewpoints which are ethical egoism and egoistical anarchism will be depicted in the way the two main characters Michael and Lucius’ attitudes, methods, and results. Keywords: ethical egoism, egoistic anarchism, urban-fantasy, adventure

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Leicester, H. Marshall. "Hammer re-reads Dracula: The second time as farce, or, keeping a stiff upper lip in the ruins." Horror Studies 14, no. 1 (April 1, 2023): 135–52. http://dx.doi.org/10.1386/host_00066_1.

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This interpretation questions the standard critical assumptions about Hammer Studios’ Dracula that despite its transient improprieties, Dracula offered audiences temporary refuge from the strains of contemporary British life by having absolute good (vampire hunters) triumphing over (absolute evil) vampire. My reading explores the film’s agency through its self-conscious relation to its pre-texts in novel and films, showing how its plot conspicuously alters former cultural expectations and assumptions about the ‘rules’ of vampirism. This deliberate slippage in the stability of prior conventions generates tension between two modes of reading Dracula – as a conventional horror movie about the melodramatic struggle between good and evil – or a depiction of domestic life as a tissue of improvisations that highlight the instabilities and contradictions of desire and gender, family organization, personal and class relations. This article shows how Dracula gradually shifts emphasis from the melodrama to agential improvisation, re-reading the horror movie and its pretensions in order to blur the distinctions between good and evil in both its imagined Victorian fiction and modern life.

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Beer, Linde. "“Colonial Botany”: Conservationists and Orchid Hunters in Popular Afrikaans Fiction Set in the Congo (D.R.C.) and Central Africa from 1949-1962." Journal of Literary Studies 35, no. 4 (October 2, 2019): 46–57. http://dx.doi.org/10.1080/02564718.2019.1690821.

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Bokarev, Aleksei S., and Alena V. Korableva. "POETICS OF EKPHRASIS OF PAINTINGS IN LYRIC POETRY BY SERGEY GANDLEVSKIY." Vestnik of Kostroma State University 28, no. 4 (February 28, 2023): 54–62. http://dx.doi.org/10.34216/1998-0817-2022-28-4-54-62.

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The article considers the functioning of ekphrasis, which is understood as a kind of self-reflexive text based on interpreting non-verbal works of art, in poetry by Sergey Gandlevskiy. Painting plays a significant part among the media the author refers to: in his poems, frequent are both mentions of artists (Vincent Willem van Gogh, Jean-Baptiste-Camille Corot, Karl Bryullov, Ilya Repin, Vasily Surikov) and references to well-known paintings (Barge Haulers on the Volga, Stag Hunt, The Hunters in the Snow, Saint Agnes, Bedroom in Arles, etc.). The ekphrasis is built as an inter-media palimpsest resulting from “layering” of verbal and visual quotations: reality is represented as a “picture” that existed before the creative act, “on top” of which a poem is being written. It is natural that an increased focus on the “alien’s” (word, images, scenes) actualises the meta-poetic function of ekphrasis – it not just reveals the fact that empirical reality is secondary to art, but also “highlights” the ability of the latter to resist the course of time. As a tool for the hero’s self-identification, ekphrasis brings to the fore the figure of an “alien”, serving as a “reference point”, relying on (or building on) which the protagonist evaluates himself and his experience. Thus, the ekphrasis in Sergey Gandlevskiy’s lyrics represents the meanings related to the problems of reality and fiction, time and eternity, life and death, thereby contributing to the author’s revision of human cognitive abilities.

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Marcussen, Marlene Karlsson. "Det postapokalyptiske moderskab." Passage - Tidsskrift for litteratur og kritik 34, no. 82 (December 20, 2019): 99–110. http://dx.doi.org/10.7146/pas.v34i82.118286.

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The article investigates a new type of narrative, where motherhood and catastrophe are interwoven. This inquiry questions how Megan Hunter presents the mother as heroine of a new type of feminist science fiction and how she uses a postapocalyptic frame to depict motherhood in crisis by showing how language falls short of fathoming experiences – both of birth and flood – beyond human understanding. Hunter’s novel succeeds in intertwining the events of motherhood and apocalypse, thus showing how both lend their language and experience to each other.

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Dissertations / Theses on the topic "Hunters – Fiction"

1

Kidd, Kimberli. "Hunter's Quest." NSUWorks, 2014. http://nsuworks.nova.edu/writing_etd/21.

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Huguley, Piper Gian. "Why Tell the Truth When a Lie Will Do?: Re-Creations and Resistance in the Self-Authored Life Writing of Five American Women Fiction Writers." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04252006-174728/.

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Thesis (Ph. D.)--Georgia State University, 2006.
Title from title screen. Audrey Goodman, committee chair; Thomas L. McHaney, Elizabeth West, committee members. Electronic text (253 p.) : digital, PDF file. Description based on contents viewed May15, 2007. Includes bibliographical references (243-253).

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Olwell, Victoria. "Female genius : fiction, politics, and gender, 1870-1920 /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3108101.

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Books on the topic "Hunters – Fiction"

1

Copyright Paperback Collection (Library of Congress), ed. Hunter's Fall: The Hunters - 13. New York: Berkley Sensation, 2011.

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2

Dahl, Michael. Troll hunters. Mankato, Minn: Capstone Stone Arch Books, 2012.

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3

S, Blackman N. Hunters attack! London: Dinosaur Books Ltd, 2013.

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Shane, Jack. Sky hunters. New York: HarperCollins, 2007.

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5

Salter, James. The hunters. Washington, D.C: Counterpoint, 1997.

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6

Nicholson, Geoff. Hunters & gatherers. Woodstock, N.Y: Overlook Press, 1994.

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7

Salter, James. The hunters. New York: Vintage Books, 1999.

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8

Chris, Grabenstein, Shulman Mark 1962-, and Neufeld Juliana 1982 ill, eds. Treasure hunters. New York: Little, Brown, 2013.

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9

Carlson, Mark. Hunters & Hunted. Sunbury Press, Inc., 2022.

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10

Hunter's Edge: The Hunters - 10.3. Samhain Publishing, 2009.

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Book chapters on the topic "Hunters – Fiction"

1

Kratochvil, Alexander. "Trauma Narration as Adventure Fiction: Ivan Bahrianyj’s Novel The Hunters and the Hunted." In Narratives of Annihilation, Confinement, and Survival, edited by Anja Tippner and Anna Artwińska, 252–69. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110631135-014.

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Genta, Giancarlo. "The Hunter." In Science and Fiction, 3–110. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-02060-0_1.

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Amarakeerthi, Liyanage. "Treasure Hunters1." In The Routledge Companion to Sinhala Fiction from Post-War Sri Lanka, 195–204. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003094708-20.

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Bartosch, Roman. "Ghostly Presences: Tracing the Animal in Julia Leigh’s The Hunter." In Creatural Fictions, 259–75. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-51811-8_13.

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Bramwell, Peter. "Herne the Hunter and the Green Man." In Pagan Themes in Modern Children's Fiction, 38–83. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230236899_3.

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Ellis, Edward S. "The Huge Hunter; or, The Steam Man of the Prairies." In Nineteenth Century Science Fiction, 245–50. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003056331-16.

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Sterk, Darryl. "The Hunter’s Gift in Ecorealist Indigenous Fiction from Taiwan." In Sinophone and Taiwan Studies, 181–202. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-4178-0_9.

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Taylor-Pirie, Emilie. "Expeditions into ‘Central Man’: Imperial Romance, Tropical Medicine, and Heroic Masculinity." In Empire Under the Microscope, 81–130. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84717-3_3.

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AbstractIn this chapter, Taylor-Pirie considers how parasitology became rhetorically and materially entangled in the imperial imagination with travelogues, anthropological treatise, imperial romance fiction, and missionary biography. These modes jointly constructed the colonial encounter as a feat of manly endurance, using the linguistic enjoinment of medicine and exploration to frame parasitologists as modern heroes. Examining the influence of Thomas Carlyle’s conceptualisation of the heroic in history and imperial cartography as a strategy of representation, she demonstrates how tropical illness became a subject associated with pioneers, poets, and prophets, mapped onto the larger field of empire by the adventure mode. Through close readings of Henry Seton Merriman’s With Edged Tools (1894), John Masefield’s Multitude and Solitude (1909), and Joseph Hocking’s The Dust of Life (1915), she demonstrates the utility of forms like the ‘soldier hero’ and ‘imperial hunter’ in elaborating masculine citizenship in the context of tropical illness and ‘muscular Christianity’.

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"CHAPTER 6. Centaur Bones: Paleontological Fictions." In The First Fossil Hunters, 228–54. Princeton: Princeton University Press, 2011. http://dx.doi.org/10.1515/9781400838448.228.

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Horsley, Lee. "Crime Fiction as Socio-political Critique." In Twentieth-Century Crime Fiction, 158–95. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199283453.003.0005.

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Abstract Evan Hunter argues that crime fiction is a genre ‘wide enough not to be subverted if you want to make social comments ‘; it is, James Ellroy maintains, ‘the perfect vehicle ‘ for social and political criticism.1 The remainder of this study will focus on writers who, like Ellroy and Hunter, see detective and crime fiction as effective instruments of socio-political critique, using the genre to address issues of class, race and gender, to expose corruption, and to explore the nature of prejudice.

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