Journal articles on the topic 'Lost articles – fiction'
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1
Alasgarova, Gunel. "Why has sci-fi literature lost its popularity in Azerbaijan after 1990?" RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 68–81. http://dx.doi.org/10.22363/2312-9220-2020-25-1-68-81.
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This paper examines the reasons why science fiction works are not popular in the last decades in Azerbaijan. The focus of this research is to determine whether there is a lack of science fiction novels in the market or low-quality of existing modern novels that leads to the unpopularity in the society. The data collection methods were conducting a survey among people and several interviews of literature experts. Libraries and bookshops, as well as school literature textbooks, were observed in the search of science fiction works, as well. The survey identified the reasons for the unpopularity of science fiction and the role of authors, works, libraries, and bookshops in this trend. The findings of the survey indicate that people still read and are involved in this genre and strongly prefer world classics rather than national. While observing Azerbaijan National Library, it was found out that in modern Azerbaijan literature there are enough books in this genre, which are not properly promoted by bookshops, social media, TV programs or school textbooks. Whereas, experts in this field indicated that the newly published novels are not engaging or appealing enough to be bought by a large audience. Additionally, it would be useful to include that science fiction is losing its prestige to the fantasy all over the world, including Azerbaijan. These results partially support earlier articles that describe science fiction as an unpopular genre in Azerbaijan in the XXI century, whereas this research claims that there are readable works, which need for more advancement.
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Jarzombek, Mark. "Joseph August Lux: Werkbund Promoter, Historian of a Lost Modernity." Journal of the Society of Architectural Historians 63, no. 2 (June 1, 2004): 202–19. http://dx.doi.org/10.2307/4127953.
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Joseph August Lux (1871-1947), who wrote numerous books and articles on Peter Behrens, Bruno Paul, Otto Wagner, and others, saw himself as the first "spokesman for the German movement." Yet, for various reasons, his work has fallen into oblivion. Lux needs to be reassigned his proper niche in the development of modern architectural theory, if only to show that the thrust of modernism was by no means as direct and unimpeded as is often supposed. Lux's historiographic argument emerges piecemeal from a vast array of writings. In this article, I clarify his concept of modernism, pointing in particular to his interest in historical fiction and amateur photography. Lux was among the first modern theorists to champion the notion of genius loci as a way to unify traditional and modern sensibilities. But it was this insistence on a teleological-and, for Lux, a "Catholic inspired"-dimension to architecture that led to a rift with Friedrich Naumann, one of the founders of the Werkbund. An investigation into Lux's work not only sheds light on the early theorizing of modernity within the Werkbund circle, but also begins to add a historical dimension to various strands of conservative-modernist thinking, including what is now called phenomenology.
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Sydorenko, Natalya. "The ambiguity of Panteleimon Kulish’s figure in the assessment of Ukrainian emigration." Obraz 3, no. 32 (2019): 21–29. http://dx.doi.org/10.21272/obraz.2019.3(32)-21-29.
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The aim of the study is to identify the main characteristics of P. Kulish by the representatives of Ukrainian emigration in the twentieth century, focusing on aspects of the extraordinary personality in Ukrainian culture and literature. The object of the research is literary-critical and non-fiction (publicist) articles, as well as correspondence of some representatives of Ukrainian intellectual emigration (in particular Ye. Malaniuk, I. Kachurovsky, A. Zhyvotko, Yu. Коsach, Yu. Shevelov), which addressed their works to the figure and creativity of P. Kulish. Methods. According to the indexes and content of literary-critical and non-fiction works of certain critics, journalists, and scientists in the diaspora, the appeal to the name of P. Kulish is traced, as well as characterization of his personality in the Ukrainian press of the postwar period in the territory of Germany (in particular in the years of his 50th anniversary and 60th anniversary of death – 1947, 1957). Methods of analysis, induction and deduction, comparison, synthesis, and generalization made it possible to distinguish the main features of P. Kulish – the creator of the Ukrainian nation, a state-maker, a true European, a unique personality. Results and conclusions. The «integrity», «universality», «synthetics», «versatility» of P. Kulish still remains to be explored in some aspects. Many biographies, essays, articles were published in order to descry his creative, rebellious, and not always consistent nature, to reveal historical intuition, political foresight, ideas about independence and statehood of Ukraine, to understand innovative steps in literature, translation, language, historiosophy, to emphasize persistent publishing and editorial activities, etc. Both domestic and emigration researchers tried to convey the greatness of P. Kulish in the translations of his works, at the same time the Ukrainian public recognized the «living person», a prominent figure «in the gallery of the creators of our post-Shevchenko cultural and historical process». Therefore, they still have not lost their symbolic and critical coloration of the estimation and characteristics of P. Kulish, although not all of these works are known today in Ukraine. Key words: Panteleimon Kulish, Ukrainian emigration, literary-critical and non-fiction (publicistic) articles, creator of nation, European orientations.
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BRODT, BÄRBEL, PAUL ELLIOTT, and BILL LUCKIN. "Review of periodical articles." Urban History 32, no. 1 (May 2005): 132–69. http://dx.doi.org/10.1017/s0963926805002749.
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Few – if any - would deny that cartography is one of the most essential disciplines within the multi-layered scope of urban history. Elizabeth Baigent pays tribute to the possibilities and problems posed by maps in her ‘Fact or fiction? Town maps as aids and snares to the historian’, Archives: The J. of the British Records Association, 29, 110 (2004), 24–37. By looking at a map of Gloucester, compiled in 1455, and two late medieval Bristol maps (one by Robert Ricart, the other by William Smith), she outlines their usefulness as well as the problems that the modern urban historian faces. Although medieval maps can clearly help to identify ‘lost’ streets, and to elucidate the town's social geography, it is essential to consider the purpose for which any individual map was drawn, the context in which it was published (and re-published) and not least the skills of the cartographer concerned. Cartography may be an essential tool for the urban historian, but there are many other tools and topics, and this year's medieval urban periodical literature again reflects the wide scope of the subject. This is especially true for the German language periodicals which tend to relate to traditionally powerful concepts rather than to recent departures. This trend largely reflects the nature of those periodicals concerned for they are almost entirely devoted to strictly local, or at most regional concerns. They are naturally home to brief essays on mainly local matters, particularly the commemoration of anniversaries of urban charters (e.g., Paul Wietzorek, ‘Zum Titelbild: 100 Jahre Stadtwappen Zons – 1904–2004’, Der Niederrhein. Die Zeitschrift des Vereins Niederrhein, 71, 1 (2004), 2–5; Paul Wietzorek, ‘Zum Titelbild: 750 Jahre Stadtrechte Grieth 1254–2004’, ibid., 71, 2 (2004), 54–5; Paul Wietzorek, ‘Zum Titelbild: 650 Jahre Stadt Dahlen (Rheindalen) 1354–2004’, ibid., 71, 3 (2004), 114–15), overviews of town histories (e.g. Eberhard Lebender, ‘Die Weizackerstadt Pyritz. Ein Gang durch die Geschichte – von der Bronzezeit bis zur Zerstörung 1945’, Pommern. Zeitschrift für Kultur und Geschichte, 42, 2 (2004), 8–17) and recent archaeological excavations (e.g., Sven Spiong, ‘Archäologische Ausgrabung an der Paderborner Stadtmauer’, Die Warte, 65, 123 (2004), 23–6; Sven Spiong, ‘Den Stiftsherren auf der Spur: Archäologische Ausgrabung nördlich der Busdorfkirche in Paderborn’, ibid., 65, 124 (2004), 9–10). Anna Helena Schubert's ‘Archäologische Untersuchungen im Bereich der “Untersten Stadtmühle” in Olpe’, Heimatstimmen aus dem Kreis Olpe, 75, 3 (2004), 195–202, is another example of local archaeological case studies. Olpe received its urban charter in 1311; in the German context such an urban charter necessarily involved fortification. Schubert is concerned whether the ‘lower mill’ which was situated outside the first urban wall was erected at the same time or at a later date than this wall, yet has to admit that despite extensive archaeological excavation this question has to remain – at least for the time – unanswered. English articles on local excavations are too numerous to be dealt with adequately in this short review. Two examples may suffice: Robert Cowie's ‘The evidence from royal sites in Middle Anglo-Saxon London’, Medieval Archaeology, 48 (2004), 201–8, looks at the evidence for palaces c. 650 – c. 850 that emerged from recent archaeological investigations in the Cripplegate area of the City and at the Treasury in Whitehall. Mary Alexander, Natasha Dodnell and Christopher Evans have published ‘A Roman cemetery in Jesus Lane, Cambridge’, Proceedings of the Cambridge Antiquarian Society, 93 (2004), 67–94. 32 corpses were unearthed (three of them decapitated), and modest grave goods were found. This cemetery seems to have served a suburban settlement within the lower Roman town. Pottery assemblage indicates industrial activity. The excavation added significantly to our knowledge of the layout and scale of Roman Cambridge. Cambridge clearly remained a significant centre during the fourth century and sustained an economic and commercial role.
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Kim, Gha-Eul. "The Reality of Problems on Creditor’s Right to Revoke Fraudulent Acts in Korea." Institute for Legal Studies Chonnam National University 44, no. 1 (February 28, 2024): 97–130. http://dx.doi.org/10.38133/cnulawreview.2024.44.1.97.
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In Korea, the Civil Act has only two articles concerning Creditor's Right of Revocation: Art. 406 and 407. Numbers of academic theories point out the problem that there is a disharmony between the interpretation of art. 406 and art. 407. Theories and precedents have been interpreting “revocation” in art. 406 as relative effect, but “restitution of its original status” in art. 406 as “to return the object itself which the beneficiary or subsequent purchaser has received” to harmonize the word of art. 407. This is the problem that is pointed out by many scholars. As a result of that, the beneficiary lost the object, though he or she has still the ownership of it by reason of a relatively valid contract between obligee and beneficiary. The object that returns to the obligee is regarded as his or her property only for the execution proceeding. That means the actual right of the object belongs to the beneficiary, but formally belongs to the obligee. I could not agree with the legal fiction. Because the legal fiction shown by the precedent is established using wrong method. Where did the problem like that come up? This matter arises out of the disharmony between the interpretation of art. 406 and the word of art. 407. The Supreme Court Decision 2015Da217890 is that problem itself. So we have to fix the problem anew by a interpretation or revision.
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Muellenbach, Joanne Marie. "The Role of Reading Classic Fiction in Book Groups for People with Dementia is Better Understood through Use of a Qualitative Feasibility Study." Evidence Based Library and Information Practice 13, no. 2 (June 5, 2018): 97–99. http://dx.doi.org/10.18438/eblip29417.
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A Review of:
Rimkeit, B.S. and Claridge, G. (2017). Peer reviewed: literary Alzheimer’s, a qualitative feasibility study of dementia-friendly book groups. New Zealand Library & Information Management Journal, 56(2), 14-22. https://figshare.com/articles/Literary_Alzheimer_s_A_qualitative_feasibility_study_of_dementia-friendly_book_groups/5715052/1
Abstract
Objective – To explore how people living with dementia experience reading classic fiction in book groups and what benefits this intervention provides.
Design – Qualitative feasibility study.
Setting – Day centre within a care home in the North Island of New Zealand.
Subjects – Eight participants with a medical diagnosis of dementia – four community dwellers who attend day centers, and four residents of a secure dementia unit in a care home.
Methods – Investigators used surveys, focus groups, and interpretative phenomenological analysis (IPA), for ideographic analysis of the data.
Main results – Following analysis of the focus book group data, three superordinate, with related subordinate, themes were found: 1) the participant as a lively reader. The participants shared childhood memories of reading and when they became adults, how they encouraged reading within the household and with their own children. Subordinate themes included: recall, liveliness of discussion, and interest in reading and book clubs; 2) the participant as guardian of the voice of Dickens. Participants believed that, when the language is simplified, the beauty and rich imagery of Dickens is lost. Subordinate themes included: oversimplifying “loses the voice of Dickens”, familiarity, and continued play on words; and 3) the participant as a discerning book reviewer. The participants offered a number of ‘dementia-friendly’ suggestions, including the use of memory aids and simplifying text. Subordinate themes were expressed as four recommendations: use cast of characters; illustrations pick up the energy of the story, but balance quantity with risk of being childish; the physical quality of the text and paper; and chunk quantity of text while keeping the style of the original author. The choice of using classic fiction that was already well known was validated by the participants, who had some preconceptions about Ebenezer Scrooge, and described him by using epithets such as mean, an old bastard, and ugly. The participants found the investigators’ adapted version to be oversimplified, as short excerpts of the original Dickens seemed to evoke emotional and aesthetic responses of appreciation. Therefore, when creating adaptations, it is important to preserve the beauty of the original writing as much as possible.
Conclusion – This qualitative feasibility study has provided a better understanding of how people living with dementia experience classic fiction in shared book groups. For individuals with Alzheimer’s disease, language skills may be well-preserved until later in the disease course. For example, the focus group participants demonstrated an appreciation and command of language, as well as enthusiasm and excitement in the sharing of the original Dickens with others. They suggested the use of memory aids, such as including a cast of characters, and repeating the referent newly on each page. Participants also suggested that the adapted version be shortened, to use a large font, and to include plenty of pictures. The choice of using classic fiction was validated by the participants, as they found these tales comforting and familiar, particularly when they included such colorful characters as Ebenezer Scrooge. Finally, people living with dementia should be encouraged to enjoy books for the same reason other adults love to read – primarily for the creative process. Classic fiction may be adapted to enhance readability, but the adaptation must be done in a thoughtful manner. While memory deficits occur in Alzheimer’s disease, an appreciation of complex language may be preserved until the later disease stages.
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Lizunov, Pavel V. "Stock Exchange and Commercial Banks during the First World War." Vestnik of Saint Petersburg University. History 68, no. 1 (2023): 93–108. http://dx.doi.org/10.21638/spbu02.2023.106.
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In connection with the recently published monograph on the First World War by the famous historian Irina Potkina “On the eve of the catastrophe. The state and economy of Russia in 1914–1917”, it is appropriate to evaluate a new book and the events that took place a century ago. The First World War is often referred to as “an unknown war” and “unfairly forgotten”, which is hardly true. The publication of scholarly books and articles, documents, memoirs, and fiction about the First World War prove the opposite. Over the past 100 years, the assessments, views and approaches to the study of the First World War have changed, but the interest in it has never faded. It should be acknowledged that there are still many unresearched and poorly studied topics. I. Potkina’s statements about the level of pre-war development and the importance of the Russian stock market and the banking sector cannot be fully accepted. She comes to the conclusion that during the war years, the Russian economy experienced processes similar to those in most European countries. It is hardly indisputable, especially the assertion about the positive results of the regulation of the credit and financial system. The policy of the tsarist government in relation to the exchange and banks contradicts this opinion. It is also difficult to point out the effectiveness of economic policy, especially in 1917. The authorities lost control over the political, economic and social processes in the country. Russia was going through a severe crisis that led to the overthrow of the autocracy.
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Lebovics, Viktória. "On the Issue of Onomastics Rendering in Literary Translation." Folk art and ethnology, no. 1 (2023): 21–28. http://dx.doi.org/10.15407/nte2023.01.021.
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The article is dedicated to the problem of rendering of eloquent proper names in the translations of fiction writing. Attention is paid to the Hungarian and English translations of The Black Council historical novel by Panteleimon Kulish. The author has informed the editor of the magazine Moskvityanin of M. Pogodin on October 15, 1843. Kulish promises to create a whole gang of Cossacks in the novel, who receive eloquent nominations with interesting, diverse, associative characterization of the heroes encoded in them. In literary translation one can find relatively few such examples when speaking proper names are translated and not transmitted by transcription or transliteration. Many researchers consider the translation of speaking names to be impossible mission or super task. Ukrainian literature is extremely rich in works, the literary and onomastic analysis of which will certainly lead to new explanations and open new nuances in their interpretation. The examples of onyms rendering in the Hungarian translation, created by Anna Bojtár in 1978, submitted in the article, are the evidences of the fact that in many cases the semantic and associative meanings of onyms are lost, and the translator finds the appropriate solution when translating them only in some cases. The decisions of Yurii Stepan Nestor Lutskyi and his wife Moira in the English abridged translation of the novel, created almost at the same time, in 1973, are not much different. Nowadays scholars pay much more attention to the problems of translation of literary onomastics. More and more often there are the proposals to use the exact, adequate, appropriate, apt equivalent of eloquent names in the target language along with the recognition of their partial or complete untranslatability. Various possibilities of this issue solving can be found in scientific articles devoted to the translation of eloquent proper names of literary works. In reality, the choice of one or another variant of reproduction of eloquent proper names in the translation is motivated by various grammatical, lexical, semantic, connotative, culturological, ethnic, historical, pragmatic and other factors, among which the subjective desires of translators are also significant.
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Neimneh, Shadi. "Women in the Works of Ghassan Kanafani: A Comparative Reading of Two Novels." Dirasat: Human and Social Sciences 49, no. 5 (September 15, 2022): 493–508. http://dx.doi.org/10.35516/hum.v49i5.2765.
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This article surveys Ghassan Kanafani’s fictions, arguing that his literature of resistance features militant men or ordinary men coping with the consequences of dislocation. Hence, the presence of women is mainly subordinate. Then the article investigates the ambivalent presence of women in two novellas diverging from Kanafani’s mainstream texts which marginalize women, offering instead prevailing female figures: All That’s Left to You (1966) and Umm Saad (1969). In the former, Maryam loses her honor, getting pregnant out of wedlock just as her people lose Jaffa; the fallen woman allegorically becomes the lost nation, and thus assumes negative attributes of the mother archetype. In the latter, this ancillary presence changes as the titular heroine enacts resistance and attachment to the land. Umm Saad assumes the positive attributes of the mother archetype, figuratively becoming the fertile land to be regained. Using a relevant framework on resistance literature and archetypal criticism on the feminine, this article shows the close association between women and the Palestinian land (the positive ideals of liberty and fertility as well as the negative meanings of loss/disgrace). Such ambivalence can be understood in a range of positive and negative aspects of the mother archetype. Appealing to recurring patterns and primordial aspects of the human psyche, Kanafani asserts the universalism of his committed fiction, the right to regain the land as a basic human need, and the richness of the mother archetype to the collective unconscious of a nation. Hence, this article problematizes traditional gender roles in Kanafani’s fiction.
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Butler, Catherine. "Lost Futures: Reading, Memory, and Repression." International Research in Children's Literature 14, no. 2 (June 2021): 156–68. http://dx.doi.org/10.3366/ircl.2021.0394.
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Children's novels sometimes allude to events in the lives of their protagonists after the end of the main narrative, either through the assertions of authoritative narrators or the speculations of child characters themselves. Such predictions offer a hostage to fortune, however, for history may take a different direction from that envisaged by the narrative. In such cases, readers must find a way to navigate the contradictions between fictional and actual histories. That navigation is always potentially problematic, but perhaps particularly so in the case of Golden Age fictions such as Peter and Wendy (1911) and The Story of the Amulet ( 1906 ), the child protagonists of which were the right age to have reached adulthood with the advent of the Great War. This article describes the strategies developed by later readers and writers to cope with the disjunction between historical and fictional futures.
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Malashevskaya, Maria. "Sato Masaru’s Views on the Russian-Japanese Relations in the 1990s – 2000s Withing the Context of His Professional Biography." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (August 2021): 160–72. http://dx.doi.org/10.15688/jvolsu4.2021.4.14.
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Introduction. Paper examines the views on politics and politicians of a former diplomat, member of the Japanese MOFA “Russian school”, popular political analyst, author of more than 200 books and articles on politics, politicians and political thought, Sato Masaru. Methods and Materials. The objective of this study is to extract the most relevant and illustrative ideas about politics and political behavior, expressed by a former diplomat, which relate to the essential characteristics and contents of the Russian-Japanese negotiations in the 1990s. The data sources for our analysis are the memoirs by Sato Masaru and his non-fiction texts (“The Self-Destructing Empire”, “The Art of Negotiating”, “State, God and Marxism”, “Russian-Japanese Diplomatic Relations: Northern Territories and Intelligence”). Analysis. Sato Masaru expresses uncommon views on Japanese and Russian political culture during the period of the rise of the Russian-Japanese relations in Post-Cold War era, which coincided with the “Lost Decade” depression in Japan in the 1990s and lasted for three decades. Moreover, Sato’s views illustrate the pragmatic approaches of the Japanese diplomatic machine towards the dialogue with Russia, while he obtained his information by observing members of elite groups of politicians in Moscow and Tokyo. In order to extract and study Sato’s most representative ideas, we have divided our text into four parts: (1) Sato Masaru’s professional biography, (2) his views on the structure of Russian and Japanese elite groups in relation to Sato’s diplomatic activities; (3) his assessment of the Putin-Abe dialogue in the context of the international situation. Results. The specific Sato’s views concerning Russian-Japanese relations in the Post-Cold War decades consist in (1) similarities between Russian and Japanese political cultures within the structure and behavior of elites, which are beneficial for a fruitful interstate dialogue; (2) assessment of the Putin-Abe ties in the 2010s taking into account Sato’s diplomatic experience in the 1990s and a panoramic view of international affairs under the Ukrainian crisis and sanctions during the 2010s.
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Bagłajewski, Arkadiusz. "Andrzej Chciuk – pisarz (z) Drohobycza." Ruch Literacki 55, no. 1 (January 1, 2014): 83–95. http://dx.doi.org/10.2478/ruch-2014-0007.
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Abstract This is a reading of Andrzej Chciuk’s Atlantis and The Moonscape (Ziemia księżycowa), treated as fictions committed to the exploration of the fundamental ontological relationship of person and place, the profound connection between real people and a place. For Chciuk that place is the small town of Drohobycz in Eastern Galicia, conjured up in his amorphic narratives where bits and pieces of a lost world, mined from ‘deep memory’, flicker in a stream of memories, each and all vying for attention. Drohobycz is vivid and unique, a lost Atlantis and the true Arcadia, its indelible presence a sure sign of the strength of the bond between person and place. The article explores yet another aspect of the Drohobycz’s uniqueness. It is the town immortalized in Bruno Schulz’s Cinnamon Shops - hence an attempt to map the intertextual links between Chciuk’s memory trips and the fiction of Schulz
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Laird, Andrew. "Ringing the changes on Gyges: philosophy and the formation of fiction in Plato's Republic." Journal of Hellenic Studies 121 (November 2001): 12–29. http://dx.doi.org/10.2307/631825.
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AbstractGlaucon's story about the ring of invisibility in Republic 359d-60b is examined in order to assess the wider role of fictional fabrication in Plato's philosophical argument. The first part of the article (I) looks at the close connections this tale has to the account of Gyges in Herodotus (1.8-12). It is argued that Plato exhibits a specific dependence on Herodotus, which suggests Glaucon's story might be an original invention: the assumption that there must be a lost ‘original’ to inspire Plato's story of the ring has never accommodated the possibility of Plato drawing, perhaps quite directly, from Herodotus. The next section (II) considers the function of that fable within the larger philosophical and aesthetic structure of the Republic. Appreciation of the entire dialogue as an exercise in fiction, as well as philosophy, helps to reveal the ways in which philosophical argument and fictional invention are closely bound up in the formation of Glaucon's fabulous anecdote. Finally (III), a reading of Cicero's treatment of the story in De Officiis confirms the degree to which philosophical reasoning and fiction can be quite generally interdependent. Although the arguments in Sections II and III are consistent with the opening contention that the ring story was invented by Plato, they do not presuppose it.
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Zeng, Xiaoxin. "Research on the paradoxes in the artificial intelligence images." Applied and Computational Engineering 5, no. 1 (June 14, 2023): 75–80. http://dx.doi.org/10.54254/2755-2721/5/20230534.
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There is a wide argument about the development of artificial intelligence and whether it has emotions right now, conveying concern about Artificial Intelligence in the future. While people have not formed a consensus about Artificial Intelligence, even in the technical development field, this article explores a paradox in the common recognition of Artificial Intelligence image, which is the mixture of fiction and reality, collection and individual, by focusing on media served as extensions of the body and perspective, and the difference between a world in artwork and reality. The article is going to talk about the paradox between the conceptional Artificial Intelligence image and the existing technology by illustrating how media like film and fiction played a role in shaping the conceptual image in human mind. Using the story and narrative layer theory in narratology and extension theory in philosophy to analyze excerpts in In Search of Lost Time, how the illusion provided by novel can be distinguished and understood will be more concrete and practical in the following texts. All the elements including time and character should be distinguished since the world in a fictional work is unequal to the real world. Moreover, how the fictional work can provide a different perspective of substance and inspiration for our future actions is crucial, instead of trapping us in the anxiety of being replaced by a machine in the future, which can never have an answer at this time.
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Agar, James N. "Self-mourning in Paradise: Writing (about) AIDS through Death-bed Delirium." Paragraph 30, no. 1 (March 2007): 67–84. http://dx.doi.org/10.3366/prg.2007.0009.
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This article discusses the representation of AIDS in Guibert's posthumously published novel Le Paradis (Paradise). The novel is situated in relation to Guibert's better known previous AIDS writings. The article proposes that Guibert's AIDS works fall in to three related categories: writings about other peoples' AIDS; autobiographical writings about AIDS, and, in the third, terminal stage in which Le Paradis fits, writing (about) AIDS. As such the article suggests that Le Paradis manages to reflect and communicate some of the trauma of living with AIDS by specifically trying not to write about it. The article raises issues related to constructions of sexualized and AIDS identities in fiction, and presents the novel as a form which represents a loss of self. The novel, it is argued, becomes a self-mourning for a healthy past which is memorialized in a fictional present, itself always-already haunted by the nostalgia for a lost future.
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Ageeva, Natalia. "To the question of the boundaries of the fictionality of the narrated event. "Every hundred years. A novel with a diary" by A. Matveeva." Филология: научные исследования, no. 8 (August 2023): 12–20. http://dx.doi.org/10.7256/2454-0749.2023.8.43637.
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The object of research in this article was A. Matveeva's novel "Every Hundred Years", published in 2022 and included in the shortlist of the Big Book Award. A novel with a diary." The specificity of this work lies in the fact that the parallel developing life stories of the two heroines are presented in the form of their personal diaries, one of which is fictitious in nature, and the second is a real diary, which was kept throughout her life by A. Matveeva's grandmother, Ksenia Mikhailovna Levshina. In this regard, the question arises not only about the distinction between fiction and nonfiction literature, but also about what happens to the status of a personal diary belonging to the category of non-aesthetic texts when it is included in the context of a work of fiction, the solution of which became the purpose of this study. The scientific novelty of the study consists in the introduction to the theoretical basis of the study were the classical works of M. Riffater, J. Genette and V. Yser, devoted to the nature of fictionality, as well as general provisions concerning the signs of a fictional text, set out in the work of V. Schmid "Narratalogy". In the process of analyzing the novel, it was revealed that when fragments of the text of real diaries are placed in the context of a deliberately fictitious world, not only the relationship of the image of the character Xenichka to the real referent (K. M. Levshina) is lost, but also the text of her personal diaries lose their connection with factuality and acquire the status of an object of comprehension. The narrated event in the novel, therefore, is not only and not so much the life stories of the two characters, but also the interaction of the factual and fictional, intimate ego-document and novel, the very writing of any text, both artistic and documentary, and the understanding of life as an aesthetic object.
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G. Peydró, Guillermo. "The Work of Art as a Fictionalized Duplicate of Life: Boris Lehman's Babel film project in the Light of Marcel Proust's In Search of Lost Time." Arte, Individuo y Sociedad Avance en línea (April 30, 2024): 1–15. http://dx.doi.org/10.5209/aris.92505.
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Belgian filmmaker Boris Lehman has created what is surely the most ambitious film diary in the history of cinema, Babel, a twenty-four-hour film divided into nine parts and several appendices, which traces a sort of sublimated filmic duplicate of the author's life between 1983 and 2020. In Babel, Lehman painstakingly records the daily activities of his life: eating breakfast, walking, talking with friends, traveling, playing the piano, being evicted, looking for a job or paying his taxes. Despite the appearance of a realistic duplicate, the filmmaker claims for his film the denomination of "autobiographical fiction". How can we understand this mismatch between the everyday reality suggested by the film and the fictional will that the author proposes as a key to reading it? This article proposes to consider this fictional quality of Lehman's autobiographical project in the light of the aesthetic proposal crystallized in Marcel Proust's novel In Search of Lost Time, which Gérard Genette proposed to call "autofiction".
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Patraș, Roxana. "Hayduk novels in the nineteenth-century Romanian fiction: notes on a sub-genre." Swedish Journal of Romanian Studies 2, no. 1 (May 16, 2019): 24–33. http://dx.doi.org/10.35824/sjrs.v2i1.18769.
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In the context of nineteenth and early twentieth-century Romanian literature, hajduk novels and hajduk short fiction (novella, short-story, tale) are called to bring back a lost “epicness,” to give back the hajduks their lost aura. But why did the Romanian readers need this remix? Was it for ideological reasons? Did the growing female readership influence the affluence of hajduk fiction? Could the hajduk novels have supplied the default of other important fiction sub-genres such as children or teenage literature? The present article supports the idea that, as a distinct fiction sub-genre, the hajduk novels convey a modern lifestyle, attached to new values such as the disengagement from material objects, the democratization of access to luxury goods and commodities, and the mobility of social classes. Clothing, leisure, eating/ drinking/ sleeping/ hygiene, work, military and forest/ nomad life, and ritual items that are mentioned in these novels can help us correlate the technical tendencies reflected in the making of objects to a particular ethnicity (Romanian).
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Khan, Muhammad Uzair, and Saleem Akhtar Khan. "Real, compared to what? Insertability of constrained realemes in Dave Eggers’ What is the What." Journal of Humanities, Social and Management Sciences (JHSMS) 2, no. 2 (December 31, 2021): 240–54. http://dx.doi.org/10.47264/idea.jhsms/2.2.18.
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The paper examines Eggers’ What is the What (2006) that has problematically been called an autobiographical novel and memoire, narrating Valentino’s chequered past as one of Sudanese Lost Boys. The text yields potential perspectives that demand scrutiny for understanding of the fascinating reciprocity between fictionality and historicity. The article engages theorizations of the complex coalescence offered by Zohar (1980) and McHale (1987) to benchmark the thematic dimensions of the selected text against the cutting-edge postulates. In addition, Valentino’s preface to the “novel”, engaging with the purpose of his collaborative working with Eggers, and Eggers’ essay “It was just boys walking” (2004), negotiating the genesis of the project, have also been used as a methodological touchstone. The analysis vindicates the correspondence between the fictional and the historical versions, albeit the author has fictionalized gaps of Valentino’s historicized life. Thus, Eggers’ text consummates blurring by encompassing both the thematic dimensions, fusing fiction and fact, and the structural schemas, mixing the techniques of different genre traditions, inasmuch as his work exhibits a hermeneutic playfulness found at the heart of the aesthetics of postmodern and 9/11 fiction.
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Holovan, Taras. "The concept of fiction in Soroka’s «Crumbs»." Philological Review, no. 2 (December 10, 2022): 144–51. http://dx.doi.org/10.31499/2415-8828.2.2022.268668.
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In the article, we analyze the concept of fiction in the short story collection «Crumbs» (2019) by the Ukrainian writer Petro Soroka. In this book, the author directly speaks out about his vision of literature; in some tales, he makes digressions, comments on his writing practice and narration, and outlines his understanding of fiction. All these things create a balance between the author’s intentions and concrete texts. In a broad context, the book is a valuable source for researching short stories in modern Ukrainian literature, the nature of fiction in general, and the understanding of fictionality these days. Soroka considered «Crumbs» the pinnacle of his writing. But the book remains unnoticed. The relevance of the article is grounded on this.
The aim of the article is to outline and identify the conception of fiction proposed in «Crumbs». For that, we solve two main tasks – analyzing the author’s reflections and tracing the realized and unrealized intentions in concrete works.
The central thesis of Soroka is that literature should mirror life. He uses theological reasoning to explain the mirror reflection in fiction (because God creates human fates, he is the best artist, so the goal of literature is not to make-believe but to reflect what God intended). We interpret this thesis and conclude that the author eliminates the main components of fictionality – the make-believe and the filling with meaning. He finds some fictionality in the representation of characters, the depiction of the current time, and the mastery of retelling. But we state that all these fictional components have lost their status because, these days, they are the constituents of nonfictional genres or texts in nonfictional spheres. The only thing that remains when it comes to fiction is the genre. The author names his writings «short stories». So the fictionality of «Crumbs» is a consensus between author and reader about the genre of the book. It arises in a receptive context. Soroka’s short stories are like artifacts that occur because of rethinking subjects in an uncharacteristic, changed context. In this sense, they are contemporary art phenomena.
These conclusions about «Crumbs» may become a basis for researching the other writings by Petro Soroka and the short stories of other Ukrainian writers.
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Drąg, Wojciech. "“I’m a I’m a Scholar at the Moment”: The Voice of the Literary Critic in the Works of American Scholar-Metafictionists." American, British and Canadian Studies Journal 26, no. 1 (June 1, 2016): 36–51. http://dx.doi.org/10.1515/abcsj-2016-0003.
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Abstract In her seminal book on metafiction, Patricia Waugh describes this practice as an obliteration of the distinction between “creation” and “criticism.” This article examines the interplay of the “creative” and the “critical” in five American metafictions from the late 1960s, whose authors were both fictional writers and scholars: Donald Barthelme’s Snow White, John Barth’s Lost in the Funhouse, William H. Gass’s Willie Masters’ Lonesome Wife, Robert Coover’s Pricksongs and Descants and Ronald Sukenick’s The Death of the Novel and Other Stories. The article considers the ways in which the voice of the literary critic is incorporated into each work in the form of a self-reflexive commentary. Although the ostensible principle of metafiction is to merge fiction and criticism, most of the self-conscious texts under discussion are shown to adopt a predominantly negative attitude towards the critical voices they embody – by making them sound pompous, pretentious or banal. The article concludes with a claim that the five works do not advocate a rejection of academic criticism but rather insist on its reform. Their dissatisfaction with the prescriptivism of most contemporary literary criticism is compared to Susan Sontag’s arguments in her essay “Against Interpretation.”
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Kononenko, Irina Vital'evna. "Cross-cultural communication - lost in translation: A corpus study (based on the material from the Russian-Polish corpus)." Russian Journal of Linguistics 24, no. 4 (December 15, 2020): 926–44. http://dx.doi.org/10.22363/2687-0088-2020-24-4-926-944.
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The article is devoted to cross-cultural communication and its implementation in Polish translations of Russian fiction. Nowadays, both the study of national specifics relating to the worldviews of speakers of different languages, and the analysis of the way those worldviews are reflected in translation, are becoming more relevant. This article aims to study the properties of cross-cultural dialogue, which is mirrored in parallel fictional texts. The research material came from the Russian-Polish corpus. The analysis indicates that nationally specific features can manifest themselves on different levels of the language system - in vocabulary, phraseology, word formation, morphology, and syntax. The translation of sentences which include units representative of the Russian linguistic worldview demonstrates both cross-cultural successes and failures (omission of elements symbolic of Russian culture, their inaccurate interpretation or replacement with items typical of the Polish worldview). The existing printed and electronic dictionaries, as well as online translators, do not fully meet current requirements, including those related to conveying Russian cultural and linguistic senses by means of the Polish language. The practice of translating literary works from Russian into Polish demonstrates the need for further investigation of the worldviews of both nations.
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Illouz, Eva. "The Lost Innocence of Love." Theory, Culture & Society 15, no. 3-4 (August 1998): 161–86. http://dx.doi.org/10.1177/0263276498015003008.
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This article examines the relationship between `mass media' representations of love and a model of love which we commonly view as more `realistic', that is more compatible with sharing everyday life with another. The article offers three arguments: (1) the postmodern claim that everyday life in general and romantic love in particular have been colonized by the empty `simulacrum' of mass media resonates with a long-standing Western discussion of the problematic relation between fiction and reality; (2) the relation between mass media representations of love and realistic models of love is reconceptualized as deriving from two conflicting bodily experiences of love; (3) postmodern love is defined as being characterized by a particular crisis of representation in which signifiers and signifieds of love do not match.
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Berman, Anna A. "The Family Novel (and Its Curious Disappearance)." Comparative Literature 72, no. 1 (March 1, 2020): 1–18. http://dx.doi.org/10.1215/00104124-7909939.
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Abstract What is a family novel? Russian literary scholars—who use the term frequently—claim that it is originally an English genre, yet in English scholarship the term has virtually disappeared. This article recovers the lost history of the family novel, tracing two separate strands: usage of the term and form/content of the novels. The genre began in England with Richardsonian domestic fiction and spread to Russia, where it evolved along different lines, shaped by the different social and political context. In England, the fate of the term turns out to be tied up with the fate of women writers in the nineteenth century, and then with the rise of feminist studies in the late twentieth that, in validating the importance of the domestic sphere, caused family novel to be superseded by domestic fiction. In Russia, by contrast, the great family novels of the nineteenth century were not associated with women or the domestic sphere, nor—as it turns out—were they considered to be family novels at the time they were written. Only in twentieth-century scholarship, as the original meaning of the term was lost, did they become family novels. In recovering the lost history of the term, this article illustrates the way later ideology and theoretical emphases that shape the language of scholarship ultimately reshape our understanding of the past.
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Macheso, Wesley Paul. "Fiction as prosthesis: Reading the contemporary African queer short story." Tydskrif vir Letterkunde 58, no. 2 (August 16, 2021): 8–17. http://dx.doi.org/10.17159/tl.v58i2.8633.
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In this article, I read contemporary African queer fiction as a tool employed by writers to represent and rehumanise queer identities in Sub-Saharan African societies. In these societies, heteropatriarchal authorities strive to disable queer agency by dehumanising queer subjects. I argue that African queer identities, desires, and experiences are controlled and restricted under the heterosexual gaze, which strives to ensure that human sexuality benefits patriarchy, promoting heterosexual desire as ‘natural’ and authentically African and pathologising homosexuality. African writers then employ fiction as a means of rehumanising queer subjects in these disabling heteronormative societies to grant voice and agency to identities that have been multifariously subjugated and/or deliberately erased, and fiction acts as a type of prosthesis, a term I borrow from disability studies. Rewriting such lives in fiction does not only afford discursive spaces to queer identities, but also reconstructs the queer person as a human subject worth the dignity that they are often denied. In the article, I analyse a selection of six short stories from the collections Queer Africa 2: New Stories and Fairytales for Lost Children to demonstrate how these stories function as prosthesis for queer people in disabling societies.
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Ordaz Gargallo, jorge. "Geology and literary fiction." BOLETÍN GEOLÓGICO Y MINERO 134, no. 1 (March 2023): 67–85. http://dx.doi.org/10.21701/bolgeomin/134.1/004.
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In this article the relations between geological sciences and literature of fiction, especially with science-fiction, are reviewed. The consolidation of geology as a scientific specialization in the first half of XIXth century attracted some writers of adventure and fantasy novels who used, among other topics, matters based on geological knowledge. Some of the most representative works in this field, published in the XIXth and XXth centuries, by authors as Jules Verne, Arthur Conan Doyle, Edgar Rice Burroughs, H. P. Lovecraft, Vladimir Obruchev, Arthur C. Clarke, George Gaylord Simpson and Sarah Andrews, are mentioned. Their contributions are divided in sections according to the aspects involved: the hollow Earth and the exploration of its inner part; the lost worlds (superficial, subterranean and extraterrestrial), inhabited by extinct animals; the prehistoric times and its antediluvian fauna; trips to other geological epochs, above all the Mesozoic times of the great dinosaurs; volcanoes, earthquakes and other natural disasters; and mines and mineral deposits. Finally, the geology of certain literary territories and the geologist, men or women, as a main character in fiction are also taken into account.
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Collins, Shalisa M. "Gender and the Disruption of Patriarchy in the Crime Stories of Mariana Enríquez's Things We Lost in the Fire." Crime Fiction Studies 5, no. 1 (March 2024): 67–82. http://dx.doi.org/10.3366/cfs.2024.0111.
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While Mariana Enríquez is most recognised as a writer of Gothic horror, this article explores issues of gender and power in crime stories from her collection Things We Lost in the Fire: ‘The Dirty Boy’, ‘Under the Black Water’ and ‘Things We Lost in the Fire’. Enríquez aligns herself with feminist variants of the crime genre by centring women's concerns and voices, breaking down binary and hierarchical representations of gender and sexuality and illustrating the struggles women and marginalised groups face in Argentina under patriarchy. Discussed as well are the implications of Enríquez's feminist project in contemporary crime fiction.
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Geertsema, J. "Fictionalization, conscientization and the trope of exile in Amandla and Third Generation." Literator 14, no. 3 (May 3, 1993): 109–28. http://dx.doi.org/10.4102/lit.v14i3.715.
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The purpose of this article is to examine Amandla (by Miriam TIali) and Third Generation (by Sipho Sepamla) as anti-apartheid novels of resistance which are faced by a number of serious contradictions. The article is an attempt to analyse the ways in which these texts seek to cope, on the one hand, with what seems to be a lost cause, a struggle without an end, and on the other hand with their own status as fictional texts which attempt to change precisely that which seems to deny all possibilities of subversion. Both texts attempt to make sense of a reality which is perceived to be so horrifyingly real as to be fictional (in the sense of the fictive, unreal, ethereal). On the one hand the power of the apartheid state is seen to be insurmountable, and on the other hand, that stale has to be subverted and destroyed. The resulting dialectic, posited in the texts, of the state of affairs in reality and the state of affairs that is desired, can only be solved by the use of the trope of exile as an imaginary resolution to a very real contradiction in order to achieve at least some measure of conscientization in the readership.
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Gaidash, Anna. "LITERARY GERONTOLOGY: DEFINITION, HISTORY, CONCEPTS." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 18–23. http://dx.doi.org/10.28925/2412-2475.2019.133.
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The goal of the article is to provide an extended definition and in-depth description of literary gerontology as a branch of humanities. Contemporary world witnesses how the number of elderly people increases that makes the research relevant. Literary gerontology forms in the mid-1970s in the framework of age studies. Scholars of literary gerontology examine the gerontological markers in fictional texts. Unlike sociologists or medical gerontologists who regard biological aging as involution of the body/brain and degradation of the individual, the literary scholars consider fictional representations of late adulthood in a much more contrastive and tragic focus: elderly people are forced to deal with numerous negative stereotypes of old age in a youth-oriented culture. Therefore the key concept of literary gerontology studies is ageism which etymology is traced in the lexical unit of “age”. Its initial meaning “lifetime; maturity; vital force” is lost over time, acquiring the connotation of “decline” (feebleness; senility). One of the problems of literary gerontology studies is the widespread use of ageist euphemisms in fiction. The methods used in the paper are mixed: historical data processing, analyses of interdisciplinary resources (literary gerontology, social gerontology, age studies). The results can be practical for classes of theory of literature and social gerontology. The findings of the paper inform of the origin of literary gerontology studies, its key concept of ageism and a set of semantic and poetic tools for further research.
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Clingman, Stephen. "Writing the biofictive: Caryl Phillips and The Lost Child." Journal of Commonwealth Literature 55, no. 3 (November 9, 2018): 347–60. http://dx.doi.org/10.1177/0021989418808010.
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This article is an exploration of the biofictive in Caryl Phillips’s writing, in particular in his novel The Lost Child (2015). The term “biofiction” has been in critical use for some 20 years, but is in general under-theorized. The article intends to help fill that gap by considering the biofictive in Phillips’s work as a form of postcolonial epistemology. It also introduces a new but logical dimension by setting the biofictive in conversation with biopolitics. However, whereas the dominant focus in discussions of the biopolitical (formulations from Foucault to Agamben and beyond) concerns the structures and dispositions of power, the role of the biofictive is inflected differently insofar as it both acknowledges a history of power but also creates a space of narrative alterity and resistance. In Phillips’s work this is revealed both in his nonfiction and fiction, not least where the two are combined; and it is especially evident in the multimodal operations of his fiction, dispersed across time and space in the aftermath of slavery, migration, and empire. We see all this in The Lost Child, which also introduces a complex rereading of Emily Brontë’s Wuthering Heights. Overall, Phillips’s version of the postcolonial is capacious, intersecting with other forms of post-traumatic and fugitive experience. The biofictive becomes a bona fide form of knowledge in our postcolonial, post-imperial moment.
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Puchal Terol, Victoria. "Pernicious Female Role Models and Mid-Victorian London’s Stage." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 20 (2021): 57–77. http://dx.doi.org/10.25145/j.clepsydra.2021.20.03.
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Hutcheon identifies as ‘historiographic metafiction’ those pieces of fiction that expose that our cultural perception of past events is changing and malleable (129). Even though Hutcheon’s theory of historiographic metafiction has been mainly applied to fiction from the post-modern era, certain elements of historical inspiration can be traced back to fiction from the Victorian period. In this article, I propose to turn to the popular theatre of the mid-Victorian period to scrutinize the manipulation of historical female figures, paying close attention to the representation of Lucrezia Borgia as a strong-minded woman. To do so, I analyse the mid-nineteenth century as a moment for asking questions about feminine identity, feminist movements, and alternative representations of female history. By turning to lesser-known mid-Victorian popular plays by H.J. Byron, Charles Matthews, and Leicester Buckingham I will further contribute to an ongoing archaeological task of recovering lost female voices and interpretations from our recent past.
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Hao, Tianhu. "Scientific Prometheanism and the Boundaries of Knowledge: Whither Goes AI?" European Review 26, no. 2 (February 13, 2018): 330–43. http://dx.doi.org/10.1017/s1062798717000710.
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This article discusses John Milton’sParadise Lost, Mary Shelley’sFrankenstein, and the contemporary filmEx Machinaas a coherent group concerning the boundaries of knowledge and the perils of scientific Prometheanism. The development of AI (Artificial Intelligence) should be delimited and contained, if not curtailed or banned, and scientists ought to proceed in a responsible and cautious manner. An obsessive or excessive pursuit of knowledge, aiming to equal God and create humanoid beings, constitutes the essential feature of scientific Prometheanism, which can end in catastrophic destruction. BothFrankensteinandEx Machinastringently critique scientific Prometheanism as one aspect of modernity, and expose the real dangers that AIs pose to the very existence of humanity and civilization. InParadise Lost, Milton provides the epistemological framework forFrankensteinandEx Machina. The article concludes that the union of science and arts in science fiction (films) can be very productive.
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Berlin, Adele. "Legal Fiction: Levirate cum Land Redemption in Ruth." Journal of Ancient Judaism 1, no. 1 (May 6, 2010): 3–18. http://dx.doi.org/10.30965/21967954-00101002.
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The article focuses on the use of the levirate and the land redemption in Ruth. It argues that Ruth, drawing on Torah texts, has fictionalized these laws. Ruth’s portrayal of these laws does not depict actual practice in the postexilic era, nor was it intended as a midrash per se on Torah laws. The book of Ruth, a story of return from exile, joined together the levirate and land redemption because these laws address the continuity of family and of inherited property. The story of the Judean family who long ago underwent “exile” and almost lost its family line and its ancestral land, but whose continuity was restored by means of Torah laws, is a metaphor for the exilic or postexilic community, which is being encouraged to see in the Torah the vehicle for its own continuity of people and land. The article also examines possible inner biblical interpretations of the go’el law in Ruth and in Jeremiah 32.
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Kucherova, Anna O. "Hannah Arendt and Marcel Proust:from the novel-document to storytelling." Philosophy Journal, no. 3 (2021): 36–51. http://dx.doi.org/10.21146/2072-0726-2021-14-1-36-51.
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The paper focuses on Hannah Arendt’s essay “Between vice and crime”, in which Arendt explores the process of stigmatization of Jews in salons at the turn of the XXth century. For this purpose, Arendt uses the novel “In search of lost time” by Marcel Proust as a document of the era. This essay elucidates the methodological impact of the novel in resolving the socio-political problems it describes. The author shows that the magnum opus of the famous French writer had a significant, foundational influence on H. Arendt’s thought. In particular, the article reconstructs her dialogue with M. Proust, the result of which was Arendt’s expansion of the potential of fiction. Since then, the novel has not been limited to its instrumental character. It acquires the ontological significance of storytelling. The paper shows the logic of Hannah Arendt’s disclosure of the novel’s capabilities through her interpretation of “In Search of Lost Time”. The author also identifies the factors that influenced this logic. The proposed perspective on fiction as the source of H. Arendt’s thought allows the author to reveal the origins of Arendt’s innovative philosophical ideas (storytelling, in particular) characterized by a literary component.
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Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.
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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.
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Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.
Full textAbstract:
The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.
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Chicharro-Merayo, Mar. "Learning from Television Fiction. The Reception and Socialization Effects from Watching «Loving in Troubled Times»." Comunicar 18, no. 36 (March 1, 2011): 181–90. http://dx.doi.org/10.3916/c36-2011-03-10.
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Television fiction is often understood as a cultural product whose aim is entertainment and escapism. However, its functions are not merely commercial. In fact, this article aims to improve understanding of the socializing and educational effects of television’s fictional messages. It also reflects on the active role of the audience in the process of reception, and on its capacity to define and interpret messages according to the viewer’s personal and social characteristics. This work examines the informational usefulness and significance for personal identity of a specific television genre, the telenovela, a fictional product which, despite focusing its narrative on romantic events and personal conflicts, can also provide the viewer with explanations and interpretations of society’s past and present. In particular, this analysis of the melodramatic format sets out to establish the meanings and representations in «Amar en tiempos revueltos» («Loving in Troubled Times») for its female viewers. Based on the analysis of in-depth interviews, the article will explore the female audience’s reception processes through variables such as age and education. This study concludes that the majority of female viewers use fiction in an explanatory sense, and that the telenovela is a genre in which women identify themselves individually and as a group.La ficción televisiva suele ser entendida como producto cultural encaminado a la evasión y el entretenimiento. Sin embargo, sus funciones no son estrictamente comerciales. De hecho, el presente trabajo surge del interés por conocer los efectos socializadores y educativos de los mensajes de ficción. Del mismo modo, reflexiona sobre el papel activo de los espectadores en el proceso de recepción, sobre su capacidad para definir e interpretar los mensajes de acuerdo con sus características personales y sociales. Más concretamente, el trabajo se interesa por las utilidades informativas y significados identitarios de un género televisivo concreto: la telenovela. Si bien focaliza el grueso de sus tramas en los avatares románticos y los conflictos personales, este producto de ficción, puede además proveer al espectador de explicaciones e interpretaciones en relación con el pasado y el presente de una sociedad. Concretando nuestro análisis en un formato melodramático concreto, «Amar en tiempos revueltos», analizaremos los significados y representaciones que ofrece a sus públicos femeninos. A partir de ahí, y mediante el análisis de contenido de los discursos obtenidos a través de la técnica de la entrevista en profundidad, se explorarán los procesos de recepción de las espectadoras, en función de variables como la edad y el nivel educativo. De este modo, se concluirá señalando cómo el grueso de las espectadoras utiliza la ficción en un sentido explicativo, y se reconocen en ella personal y grupalmente.
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Gall, Alfred. "An Odyssey without Homecoming." Polish Review 68, no. 2 (July 1, 2023): 72–89. http://dx.doi.org/10.5406/23300841.68.2.07.
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Abstract Recent scholarship has drawn attention to the impact of war, occupation, and the Holocaust on Stanisław Lem's literary work. This article attempts to further explore this subject. Its aim is to show how Lem in Powrót z gwiazd [Return from the stars, 1961] depicts the return from space travel as analogous to coming home from war. This analogy is based on a complex interplay between the science fiction narrative on the one hand and references to the Homeric epic poem The Odyssey on the other. The article highlights some peculiarities of this intertextual fabric of Return from the Stars. From this point of view, the science fiction work forms, in Adorno's term, a “constellation” with the epic tale. In this constellation the science fiction narrative exposes in its transtextual interplay with the Greek tradition the deheroization of the hero as well as the ambiguities of a biopolitically organized society in the future. With the transtextual reassessment of the mythical narrative and the emerging literary representation of an odyssey without homecoming, Lem's novel exemplifies a fundamental dismantling of positivity. Seen from this angle, the science fiction novel can be situated in the context of postwar Polish literature which in its attempts to come to terms with the traumatic experiences of war and occupation challenges or even rejects a cultural heritage of traditions and values that have—in the wake of World War II—lost their immanent value.
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Armitt, Lucie. "Petrifying Attachments: Fear and Safety in Jeanette Winterson's Tanglewreck and The Battle of the Sun." International Research in Children's Literature 6, no. 1 (July 2013): 62–75. http://dx.doi.org/10.3366/ircl.2013.0080.
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This article focuses on Jeanette Winterson's two most extended works of fiction for children, Tanglewreck and The Battle of the Sun, identifying them as narratives of longing and adventure engaging directly with questions of childhood fear and safety. In 2007 I wrote an article on Winterson's adult fiction which focused on her use of vertical imagery. Using such vertiginous drops, I argued, Winterson explores the perilous opportunities afforded by disengaging from a woman-centred storytelling tradition, thus enabling her to ‘go it alone’. In Tanglewreck and The Battle of the Sun, these vertical images return and are again connected with questions of attachment and disengagement, yet now with an increasingly overt agenda of negotiating maternal separation anxiety. In Winterson's 2011 memoir, Why Be Happy When You Could Be Normal?, the journey of the first-person narrator, as she travels from child to adulthood, is shrouded in fears linked to lost origins and a safe sense of belonging. As this article shows, these are also the issues facing Silver and Jack, the child protagonists of Tanglewreck and The Battle of the Sun.
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Jensen, Søren. "Fra apokalyptik til science fiction. Jakob Balling in memoriam." Dansk Teologisk Tidsskrift 75, no. 3 (October 10, 2012): 170–86. http://dx.doi.org/10.7146/dtt.v75i3.105582.
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In his book Poeterne som kirkelærere (The Poets as Theologians)Jakob Balling compares Dante’s Divine Comedy with Milton’sParadise Lost. He discusses similarities and differences between the twopoems and places them in a literary tradition that combines theologyand poetry, a relationship that has had a decisive influence on the development of literature in Europe. The present article expands this perspective both backwards and forwards in time by including a discussionof the interrelationship between fi ction and religious message in Jewishapocalyptic, using the Apocalypse of Abraham and C.S. Lewis’ modernscience fiction novel Out of the Silent Planet as examples. The article’sdiscussion of the relationship between theology and fi ction raises thequestion of the apocalyptic as genre. Moreover, the demonstration ofthe fi ctional tendency in the apocalyptic is used to support and supplementthe traditional description of genre.
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Kütt, Madli. "Translating the Dynamics of Fictional Space: Estonian Translation of Marcel Proust’s Le Temps retrouvé." Interlitteraria 21, no. 2 (January 18, 2017): 241. http://dx.doi.org/10.12697/il.2016.21.2.7.
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The article discusses the way that Proust’s text constructs dynamic and static elements of fictional space, and the further dynamisation or fixation of these elements by the process of translation. The focus of the study is on how movements of fictional space and characters can change in strength, direction and manner, when translated. In other words, rather than looking for that which is “lost in translation”, we are dealing with a comparison of two fictional worlds and the processes in them and between them.
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Nguyen, Josef. "Reconsidering Lost Opportunities for Diverse Representation." American Literature 94, no. 1 (January 27, 2022): 73–102. http://dx.doi.org/10.1215/00029831-9697001.
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Abstract This article considers the cultural politics of frustrated potential for diverse representation in games by examining developer comments on the 1995 digital game I Have No Mouth, and I Must Scream, adapted from Harlan Ellison’s 1967 science fiction story of the same name. While Ellison’s story featured a gay man named Benny among the protagonists, the game developers adapted Benny without his original sexual identity. In a 2012 Game Informer magazine article, however, the developers reflected on their version of Benny as a “lost opportunity” for exploring gay identity. Rooted in discussion of this frustrated potential for a gay in-game Benny, this article interrogates a logic of lost opportunity for diverse representation present in game-development discourse, which manifests in a longing for more diverse characters that could have been but never came to be. This logic suggests particular ways that developers might conceive of diverse representation as simply a design issue under neoliberal logics of economic opportunity, commercial risk, and fetishized innovation—without meaningful consideration of political significance. Opposing this instrumentalization of frustrated diverse representation, this article draws on queer game studies and speculative design and literature to explore the possible contours and implications of diverse characters that never were more seriously than such comments typically do. Doing so demands more than romanticized longings for lost opportunities for diverse representation that treat this longing as the end in itself.
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Butt, Amy. "‘Endless forms, vistas and hues’: why architects should read science fiction." Architectural Research Quarterly 22, no. 2 (June 2018): 151–60. http://dx.doi.org/10.1017/s1359135518000374.
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Most of an architect's life is concerned with that which has not yet taken place, both foreseeing the near future and expressing an intention of how this future world should be remade. However small the intervention, all design proposals are utopian works. With this in mind, this article is a celebration of the utopian potential of reading science fiction (SF); to make the familiar strange, to reveal fears about the future, to confront us with ourselves, and to shape the world we inhabit. It is an unabashed call from an architect and avid SF reader, for architects to raid the bookshelves for the most lurid cover and glaring font and lose themselves in the exuberant worlds of science fiction.
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Martínez-Gil, Víctor. "Mediterrani i apocalipsi en la literatura catalana de ciència-ficció." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 22, no. 22 (December 3, 2023): 499. http://dx.doi.org/10.7203/scripta.22.27844.
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Resum: L’objectiu d’aquest article és analitzar la presència del mediterranisme, entès com a doctrina d’identificació col·lectiva, en la literatura catalana de ciència-ficció sobre la fi del món. L’article estableix les possibles relacions entre els motius que provoquen l’apocalipsi (guerra mundial destructora, invasió d’extraterrestres, motius ecològics) i les diferents imatges del Mediterrani com a refugi de valors clàssics i vitals (durant la postguerra i fins als anys setanta), com a imatge de la societat desapareguda (durant l’exili i en ecoficcions dels anys setanta) o, en la ficció climàtica apocalíptica i en la ficció de l’Antropocè, com a massa d’aigua amenaçadora o com subjecte de nous valors d’identificació. Aquest recorregut pot ajudar a entendre els canvis ideològics esdevinguts entre la guerra freda, la postmodernitat i l’actualitat.Paraules clau: ciència-ficció, apocalipsi, mediterranisme, postmodernitat, Literatura catalanaAbstract: The aim of this paper is to analyse the presence of Mediterraneanism, that is, a collective identification way of thinking, in Catalan science-fiction literature about the end of the world. The paper lays out the possible relationships between what causes the apocalypse (a destructive world war, an alien invasion, environment issues) and the different portraits of the Mediterranean as the sanctuary of classical and life values (literature after the Spanish Civil War and until the 70s), as the portrait of a lost society (literature of the Exile period and 70s eco-fiction), or as a menacing water body or a subject of new identity values in apocalyptic climate fiction and Anthropocene fiction. This paper can help understand the ideological changes that happened between the Cold War, Postmodernity, and the present time.Keywords: Science fiction, Apocalypse, Mediterraneanism, Postmodernity, Catalan literature
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Dmitrieva, Ekaterina E. "THE LOCUS OF THE CASTLE IN THE NOVELS OF WALTER SCOTT (“WAVERLY”)." Vestnik of Kostroma State University 29, no. 3 (December 21, 2023): 101–12. http://dx.doi.org/10.34216/1998-0817-2023-29-3-101-112.
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The article is devoted to the role that various castles played in the historical narrative of Walter Scott. The object of the study was mainly his first novel «Waverly». The question posed in the article is formulated as follows: why did Walter Scott, who distanced his writing from the genre of the Gothic novel and at the same time did not focus his attention on the reconstruction of the knight’s novel (both of them widely used the topos of the castle) fill his novels with the description of castles, making them the main place of action and the condition of the plot intrigues. An analysis of his novels and in particular «Waverley» shows that W. Scott introduced castles of different genealogies into his novels: historical and fictional, Scottish and English, assigning each of them its own special function. But they were united by the fact that in the romantic world of W. Scott they acted as an emblem of the fusion of history and modernity, «fiction and truth». The castle, which had already lost its main romantic and chivalrous function in the time of W. Scott, remained a mnemonic space in which history and legend, fueled by imagination, are both glorified and disavowed at the same time. The theme of castles turning into ruins and passing to other owners is another key theme of W. Scott’s historical novels. And the only counteraction to the all-consuming time is the imagination, the mechanism of which the writer starts by appealing to the castle.
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Park, Stephen M. "Credible Fears: The Asylum Narrative as Form in Lost Children Archive." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 79, no. 4 (December 2023): 49–70. http://dx.doi.org/10.1353/arq.2023.a914006.
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Abstract: The first step toward winning asylum in the United States is the Credible Fear Interview (CFI), in which the applicant narrates their life in a way that conforms with legal expectations of “credibility.” This interview process appears in several recent literary works, most notably Valeria Luiselli’s nonfiction work, Tell Me How It Ends . However, the narrative situation of the CFI, this moment of high-stakes, transactional storytelling, also provides a way of interpreting recent migration literature and understanding how such works perform credibility for the reader. By analyzing the interplay of legal and literary narratives in Luiselli’s Lost Children Archive , this article positions the CFI as the primal scene of narration for recent migration fiction.
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King, Henry. "“Her lost girl”: Shirley Jackson and Kenneth Burke in the Bennington Triangle." American Studies in Scandinavia 53, no. 2 (December 1, 2021): 3–21. http://dx.doi.org/10.22439/asca.v53i2.6389.
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From 1945 to 1950, a number of unexplained disappearances occurred in the vicinity of Bennington, Vermont. During the same period, the author Shirley Jackson moved to North Bennington, while her friend Kenneth Burke (a colleague of her husband at Bennington College) published two pivotal works of theory, A Grammar of Motives (1945) and A Rhetoric of Motives (1950). Although the disappearances have previously been noted as a context of Jackson’s fiction, especially the short story “The Missing Girl”, this article applies a Burkeian lens to analyse how Jackson used the disappearances to explore the effects of what Burke calls “the hierarchal psychosis” on young women and rural New England society.
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Peinado-Abarrio, Rubén. "Disappropriation and Composting in Valeria Luiselli’s Lost Children Archive." Complutense Journal of English Studies 30 (December 16, 2022): 101–9. http://dx.doi.org/10.5209/cjes.82240.
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This article offers first a review of Josefina Ludmer’s ‘postautonomy’, Cristina Rivera Garza’s ‘disappropriation’, and Verónica Gerber Bicecci’s ‘compost writing’ as useful categories for the analysis of recent works of fiction based on complexity and relationality. These three different but interrelated concepts are then applied to the study of Valeria Luiselli’s first novel in English, Lost Children Archive (2019), a fragmentary text that manages to convey a sense of interconnection through its multi-layered analysis of border policies, forced migration, and environmental justice. Particular emphasis is laid on Luiselli’s politics of quotation as developed in both textual and paratextual material; her archival method, which contributes to the polyphonic impetus of the novel and presents the archive as a tool for resistance, and the posthuman ethos that informs her work, advocating a nature-culture continuum in a constant movement towards a horizontal communication scheme.
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Langlois, Christopher. "The Voices Unwording the Words in Beckett’s All Strange Away and Fizzles." Samuel Beckett Today / Aujourd’hui 30, no. 2 (September 24, 2018): 266–78. http://dx.doi.org/10.1163/18757405-03002002.
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Abstract In The Step Not Beyond, Maurice Blanchot suspects that “behind discourse the refusal to discourse speaks, as behind philosophy the refusal to philosophize would speak: speech not speaking, violent, concealing itself, saying nothing and suddenly crying out” (116). One of Blanchot’s concerns in this text is with reaching out to the voices that have been exiled to spaces of invisibility and silence. These voices speak from the outside of language where they are excluded from history and lost to a space beyond words. In view of Blanchot’s insinuation that literature and thought are responsible for the hearing of such voices, this article traces the movements of Beckett’s writing, particularly of All Strange Away and Fizzles, as it traverses the spaces in Beckett’s fiction where such voices are made to dwell. It does so to see if at the end of this movement Beckett has arrived at a space beyond words where the voiceless, disfigured voices of his fiction are always speaking, always unworking the work, always unwording the word: ‘saying nothing and suddenly crying out.’
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Kruvko, Tatiana V. "THE REPRESENTATION OF POSTHUMAN SUBJECTIVITY IN MODERN SCIENCE-FICTION ON THE EXAMPLE OF THE TV SERIES “LOVE. DEATH & ROBOTS”." Articult, no. 2 (June 2024): 82–95. http://dx.doi.org/10.28995/2227-6165-2024-2-82-95.
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Today, the conversation about the impact of technology on humans is a common place. In humanitarian theory, there is a growing number of approaches that develop new ways to describe a person in a technologized culture. Special attention is paid to it by posthumanism, based on the experience of critical analysis of culture, it offers a description of alternative, posthuman subjectivity. Where is also a reflection on changing human relations with the environment in visual art. Although mass screen culture has transformed and moved away from big screens to gadgets for private viewing, it has not lost its ability to respond sensitively to cultural trends and offers examples of images of posthuman subjectivity. The theory of posthumanism turns out to be a relevant tool for analyzing posthuman images in modern science fiction films. The article will examine representations of posthuman subjectivity in the genre of modern fiction on the example of the TV series “Love. Death. Robots.” The focus of the analysis will be on the images of the main characters and the peculiarities of plot development in relation to traditional cultural constructs.