Relevant bibliographies by topics / Insurgency – Fiction

Academic literature on the topic 'Insurgency – Fiction'

Author: Grafiati
Published: 25 July 2024
Last updated: 26 July 2024

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Journal articles on the topic "Insurgency – Fiction"

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Ajibola, Opeyemi. "The Trauma Continuum: Narrating Deprivation, Dissent and Desecration in Elnathan John and Tricia Nwaubani’s Fiction." International Journal of Language and Literary Studies 5, no. 3 (September 30, 2023): 37–49. http://dx.doi.org/10.36892/ijlls.v5i3.1343.

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Northern Nigeria has in contemporary time been renowned for dissent that manifests in civil unrest, violence and insurgency. Elnathan John’s Born on a Tuesday and Tricia Nwaubani’s Buried Beneath the Baobab Tree, are closely read, to underscore the texts’ recreation of northern Nigerian young adults’ experiences of trauma occasioned by the Boko Haram insurgency. This is to foreground the writers’ insiders’ perspectives on the causes and consequences of dissent, with a view to underscoring the novels’ contribution to a nuanced understanding of dissent as a complex and multidimensional reality. Aligning with Ngugi wa Thiong’o’s certainty on the novel’s capacity to advocate for political change, and the estimation of trauma, especially within the postcolonial context as pluralistic, I read dissent, deprivation and desecration as normatively traumatogenic categories cum sites, thereby foregrounding the primacy of social contexts and historical processes in the complex interplay of place and power that undergird insurgency. The novels reveal that youths, who bear the brunt of insurgency-induced traumas the most, must arise and raise the cudgel against the inept leaders under whose watch insurgency and banditry have become the highest income-grossing enterprise, if the trauma continuum of deprivation, dissent and desecration will be terminated.
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Rathbun, John W. ""Moby-Dick": Ishmael's Fiction of Ahab's Romantic Insurgency." Modern Language Studies 21, no. 3 (1991): 3. http://dx.doi.org/10.2307/3195083.

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Stengel, Wayne B., and Robert Siegle. "Suburban Ambush: Downtown Writing and the Fiction of Insurgency." American Literature 63, no. 2 (June 1991): 360. http://dx.doi.org/10.2307/2927194.

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Venegas, José Luis. "Postal Insurgency: Letter Writing and the Limits of Mexican Nationalism in Gustavo Sainz’s Fiction." Hispanic Review 80, no. 2 (2012): 267–88. http://dx.doi.org/10.1353/hir.2012.0026.

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Sarkar and Manna. "Hues of Red: The Facades of Leftist Insurgency and Crisis in India in Select Fiction." Comparative Literature Studies 55, no. 2 (2018): 379. http://dx.doi.org/10.5325/complitstudies.55.2.0379.

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Bettina T. Becker. "Woman, Violence, Nation: Representations of Female Insurgency in Fiction and Public Discourse in the 1970s and 1980s." Women in German Yearbook: Feminist Studies in German Literature & Culture 16, no. 1 (2000): 207–20. http://dx.doi.org/10.1353/wgy.2000.0005.

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Sarkar, Debjani, and Nirban Manna. "Men Without Names." Archiv orientální 89, no. 1 (June 25, 2021): 155–83. http://dx.doi.org/10.47979/aror.j.89.1.155-183.

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Left-Wing Extremism (LWE) in India was realized along the lines of Maoist ideology through the Naxalite insurgency in the 1960s. Novelists have attempted to grasp the mood of this decade of liberation through fiction. This article attempts to study two novels which document the formative years of the Naxalite movement in West Bengal. Translated works from Bengali, Mahasweta Devi’s Mother of 1084 (1974) and Bani Basu’s The Enemy Within (1991) foreground the necropolitical policies of the demonic state in eliminating these Naxal names. State and non-state actors obliterate the question of the Naxal’s identity (enmeshed with his mind and body), making it the focal point of the analysis. Drawing abundantly on concepts of homo sacer, necropolitics, McCarthyism, and democide, the analysis demonstrates that the protagonists are typical of what modern biopolitical states do to non-conformist subjects by creating death worlds. This article is an attempt at understanding the nuances of a sociopolitical movement through literature as social responsibility.
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Shrivastwa, Bimal Kishore. "Heterogeneity, Displacement, and Alienation in Desai’s The Inheritance of Loss." NUTA Journal 8, no. 1-2 (December 31, 2021): 21–31. http://dx.doi.org/10.3126/nutaj.v8i1-2.44034.

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The paper aims to explore the postmodern issues such as heterogeneity, displacement, and alienation in Kiran Desai’s novel, The Inheritance of Loss with respect to its impact on the Indian lifestyle and culture. To analyze how this fiction demonstrates the impact of globalization, racial contempt, and alienation, illegal immigration, diasporic communities, hybridization, and cultural infiltration with special reference to the characters, such as Biju, who grow up within the novel, the research tool taken for the research is postmodern theoretical perspectives advocated by Jean-Francois Lyotard, Michel Foucault, and Jean Baudrillard. Applying the qualitative research method, and collecting data through the close reading of the text, The Inheritance of Loss from the context of postmodernity, the paper seeks to display how Desai limns the problems of insurgency, declining moral standard, and behavior of individuals, increasing corruption in the Indian society after its independence. The chief finding of the research is that characters like Sai and Gyan lose love, Biju loses his possessions, Lola and Noni lose their dignity and privacy of their house, Jemubhai loses his Indianness. It is expected that scholars interested to study postmodernity in Desai can take the paper as a reference.
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Klinkowitz, Jerome. "Restrained Response: American Novels of the Cold War and Korea, 1945-1962, and: Suburban Ambush: Downtown Writing and the Fiction of Insurgency (review)." MFS Modern Fiction Studies 36, no. 4 (1990): 583–85. http://dx.doi.org/10.1353/mfs.0.0426.

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10

Atuwo, Abdulbasir Ahmad. "The Writer and Society: A Literary Study of Balaraba Ramat Yakubu’s Reflections on Hausa Society." Scholars International Journal of Linguistics and Literature 5, no. 2 (February 28, 2022): 72–76. http://dx.doi.org/10.36348/sijll.2022.v05i02.006.

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Styles were used by different authors to ensure a proper channeling of messages from their novels to the targeted readers. Balaraba Ramat Yakubu who is among the few reputable Hausa women authors combined the position of mother, elder, leader, and responsible married woman. At the time she strived hard to acquire what can sustain her family and relatives she wrote many Hausa fiction books in which she depicted her wisdom and opinions in exposing the need to have a decent society base on her life experience, a society that respects women dignity, display honesty, discipline and promote a violent free society and encourage respect for one another. Balaraba Ramat Yakubu has tried to symbolize some of these issues in her books as her contribution towards sustaining responsible society in Nigeria, Africa, or the world at large. Styles as used by authors is a toolbox in the manipulation of their talents to expose their mission in their works. Balaraba Ramat used her styles to display her opinions on how different dimensions of our lives should be. This paper analyzes how Balaraba Ramat Yakubu addressed some of these issues and analyzes them. The paper used her Hausa novels and the academic works done on them and other things related to her. The paper, however, makes contact with both primary and secondary sources for further justifications. It however concludes with the findings that in Hausa society, men remain behind their wives in whatever they do to earn their lively hood as long as their strives do not contradict Islam and Hausa culture. Again going by the power of the pen, the paper also encourages writers especially women to use their pen as their powerful weapon to fight all forms of insurgency which rendered hundreds of thousands of women and children victims of circumstances in many African countries.
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Books on the topic "Insurgency – Fiction"

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Hyŏn, Ki-yŏng. Pyŏnbang e ujinnŭn sae: Hyŏn Ki-yŏng changp'yŏn sosŏl. 8th ed. Kyŏnggi-do P'aju-si: Ch'angbi, 2013.

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Castro, Sebastián. Guardianes del sur. Santiago de Chile: Nük! Comics, 2019.

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Caycedo, Germán Castro. Más allá de la noche: Una historia de amor y de guerra. Bogotá: Editorial Planeta Colombiana, 2003.

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Caycedo, Germán Castro. Más allá de la noche: Una historia de amor y de guerra. Bogotá: Editorial Planeta Colombiana, 2004.

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Rivero, Arturo Quevedo. Los colorados. México, D.F: Editorial Diana, 2000.

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Rivero, Arturo Quevedo. Los colorados: Novela histórica. Chihuahua, Chih., México: Centro Librero La Prensa, 1998.

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Yi, Sŏng-jun. T'amna, noŭl sok e chida. 8th ed. Cheju T'ŭkpyŏl Chach'ido Cheju-si: Tosŏ Ch'ulp'an Kak, 2015.

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Miolán, Angel. Hombres de Cayo Confite. Santo Domingo, República Dominicana: Taller, 1993.

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Dutta, Arup Kumar. The bag: A novel. New Delhi: Olive Turtle/Niyogi Books, 2018.

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Thāru, Śivānī Siṃha. Kāṭhamāḍaummā eka dina. Kāṭhamāḍauṃ: Phāinaprinṭa Buksa, 2017.

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Book chapters on the topic "Insurgency – Fiction"

1

Campbell, Peyton. "Queer Science Fiction, Queer Relationality, and Utopian Insurgency." In The Routledge Companion to Gender and Science Fiction, 131–37. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003082934-21.

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Malreddy, Pavan Kumar. "Solidarity, Suffering and ‘Divine Violence’: Fictions of the Naxalite Insurgency." In South-Asian Fiction in English, 217–33. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-40354-4_12.

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Griffin, Ben. "The Wars of Ronald D. Moore: Terrorism, Insurgency, and News Media in Deep Space Nine and Battlestar Galactica." In American Science Fiction Television and Space, 97–118. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-10528-9_6.

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Bernedo, Karen. "Do Executioners Have Souls? La última tarde and La hora final: Representations of the “Insurgent” Character in Peruvian Fiction Cinema." In Peruvian Cinema of the Twenty-First Century, 257–76. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52512-5_14.

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Scott, Nathan A. "Ellison’s Vision of Communitas." In Ralph Ellison’s Invisible Man, 109–24. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195145359.003.0006.

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Abstract From the time of its first appearance in the spring of 1952 Ralph Ellison’s Invisible Man has been thrusting itself forward, ever more insistently with the passage of each year, as a commanding masterpiece in the literature of American fiction—and, now that it has had a career of a half-century, all that I want here to try to do is to suggest something of what it is that accounts for the kind of powerful claim that it continues to exert upon us. Ours is, of course, a period marked by an efflorescence of fictional talent on the American scene more notable surely than any comparable European insurgency. Yet, in its representative expressions, it is a talent, for all its variety, that—in such writers as William Gass and John Barth and Donald Barthelme—often chooses to dwell (as the title of a book on recent American fiction by the English critic Tony Tanner says) in a City of Words. Bellow and Styron and Updike and certain others, in their commitment to the traditional arts of narrative, remain sufficiently unreconstructed as to conceive the novel to be a mode of feigned history, but they, though retaining a large and devoted readership, may not embody what Matthew Arnold called “the tone of the centre.” For those who are advancing the new poetics of fiction take it for granted (as William Gass says) “that literature is language, that stories and the places and the people in them are merely made of words as chairs are made of smoothed sticks and sometimes of cloth or metal tubes,” and thus, since “there are no events but words in fiction,” they think of the novelistic craft as simply an affair of putting words together in new and surprising combinations—which record nothing other than the event of the writer’s having done certain interesting things with language itself.
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"‘A Great Insurrection’: Jules Verne and British ‘Mutiny’ Fiction." In Insurgent Sepoys, 251–64. Routledge India, 2012. http://dx.doi.org/10.4324/9780203151808-23.

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"The Lumpen Aesthetics of Mrinal Sen: Cinema Novo Meets Urban Fiction." In Insurgent Imaginations, 83–117. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108763899.004.

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"Black Blood: Fictions of the Tribal in Mahasweta Devi and Arundhati Roy." In Insurgent Imaginations, 118–63. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108763899.005.

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Michelsen, Nicholas, and Neville Bolt. "Taking the Lines Off the Map." In Unmapping the 21st Century, 11–22. Policy Press, 2022. http://dx.doi.org/10.1332/policypress/9781529223736.003.0002.

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In this chapter, Michelsen and Bolt examine the role that maps fulfil in world politics. States demarcate their borders according to so-called Westphalian principles, and these limits are recognized, indeed sanctified, within the international community of sovereign states. Lines on a map are legal fictions that states attempt to translate onto the ground. Yet all mapping conceals as much as it reveals, and insurgent cartographies are continuously emerging to challenge the state map. Discussing mapping projects throughout history, from the work of the potter Grayson Perry to the Millionth Map, and the various attempts by states and empires to impose their political order on the world, this chapter turns to revolutionary, insurgent and counter-insurgent mappings from Russia to Northern Ireland to Palestine.
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Coghlan, J. Michelle. "Restaging Horror: Insurgent Memories of the Commune in the 1930s." In Sensational Internationalism. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474411202.003.0006.

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This concluding chapter turns from James’s multivalent spatial memory to a series of radical texts that unearth precisely that “other” Paris for the Popular Front by exploring Guy Endore’s 1933 bestseller, The Werewolf of Paris, a novel whose unlikely return to the Commune interrupts both its ostensible horror plot and its initial setting in 1920s Expat Paris. Reading Endore’s retelling of the Commune alongside both contemporary worker theater productions and agitprop that drew on the conventions of pulp fiction to reclaim 1871 for the American Left, I recover the way that radical pulp and radical theater in this period used the medium of horror to radically transform historical fiction and conventional histories of the Commune. Redeploying the sensational tropes so often mobilized in mainstream American narratives of the Commune so as to restage the horror of the Commune as its suppression rather than its existence, these texts escape the cul-de-sac of trauma by espousing what I term an “insurgent” rather than simply melancholic fixity on the past, refashioning the space of the Commune in Marxist thought and U.S. memory.
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