Academic literature on the topic 'Mages – Fiction'
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Journal articles on the topic "Mages – Fiction"
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Sangadieva, Erzhen Gendenovna. "Ethnographic and mythopoetic space of the novel “Big Argish” by Mikhail Osharov." Litera, no. 7 (July 2021): 12–21. http://dx.doi.org/10.25136/2409-8698.2021.7.35920.
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The problem of studying the traditional cultures of the peoples of Russia is relevant in the modern social science and humanities research. A significant role in this process is played by literature that reveals the peculiarities of ethnopoetics, worldview, and perception of the world. In fiction writing, the ethnic specificities are reflected in depiction in the natural world, everyday life, mentality, as well ethnographic features of lifestyle of a certain community. Based on the novel by Mikhail Osharov (1894-1937), the article examines the ethnographic peculiarities of depicting the world and man. Analysis is conducted on images of the characters through the specificity of their ethnopsychological consciousness and traditional worldview. The research employs semantic and axiological methods. The scientific novelty consists in the analysis of the national concept of the world through ethnographic peculiarities of depicting literary mages in the novel “Big Argish” by Mikhail Osharov. The novel was written in the Russian language, describing the unique culture, traditions and customs of the Evenki people of the early 1930s. During the political repressions, Mikhail Osharov was shot, and his artistic heritage was eliminated from the sociocultural space of the Soviet literature and literary studies. In the context of returning the names and heritage of the repressed writers, develops a new perspective of the literary works. In his novel, Mikhail Osharov preserved the peculiarities of traditional culture and everyday life of the Evenki people of the early XX century.
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Zheltikova, Inga Vladislavovna. "Possible future options in the Russian modern cinematography." Культура и искусство, no. 11 (November 2020): 36–52. http://dx.doi.org/10.7256/2454-0625.2020.11.34473.
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The subject of this research is ten Russian science-fiction films released over the period from 2013 to 2020. The goal of this article consists in examination of scenarios of seeing the future presented in the Russian modern cinematography. An overview of approaches towards studying visual images is provided, based on which the author offers a new strategy for studying film images of the future that demarcates three groups of elements in the film – cognitive, visual, and emotional-modal, and four thematic components that correspond to the spheres of social life. As a result of implementation of the aforementioned method, the author determines four underlying themes in cinematographic representation of the future – space, armed conflicts, entertainment industry and drastic changes of human personality. It is established that the visual representation of the future is resembled in the four groups of images – universal images, images of the present, images of the past, and images unfamiliar to the audience that imply something unprecedented that makes the future attractive. It is acknowledged that in most films the future is presented as unfair, wrong, which causes moral discord. It is not the world we would like to live in. Most of the Russian films are dedicated to the local future for approximately 50 years from now. This approach engages the audience in the events, and conveys an pessimistic spirit about tomorrow, which is traced not only in the plot, but also in visual imagery of most films. Holistic mages of the future, functioning in a certain culture, can be determined based on the comparison of various sources, where cinematography is just one of such sources. Therefore, the conclusions on perception of the future by our contemporaries should not be made based on this alone. However, films are a valuable source of information on visualization of the future and transmission of general moods associated with it.
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Schleher, D. C. "LPI Radar: Fact or Fiction." IEEE Aerospace and Electronic Systems Magazine 21, no. 5 (May 2006): 3–6. http://dx.doi.org/10.1109/maes.2006.1635166.
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Bréhin, Yannick. "Menoud Lorenzo, Qu’est-ce que la fiction ?" Marges, no. 06 (October 15, 2007): 130–31. http://dx.doi.org/10.4000/marges.654.
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Allahyari. "Jack Maggs and Peter Carey's Fiction as a World." Antipodes 31, no. 2 (2017): 326. http://dx.doi.org/10.13110/antipodes.31.2.0326.
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Marion, Anaël. "L’immersion dans les ruines de Passaic : le rôle créateur de la fiction dans la perception des monuments." Marges, no. 14 (June 1, 2012): 47–59. http://dx.doi.org/10.4000/marges.293.
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Alcalde, Maxence. "L’imaginaire science-fictif de Robert Smithson." Marges, no. 14 (June 1, 2012): 124–36. http://dx.doi.org/10.4000/marges.295.
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S., Roopha, and Patchainayagi S. "The Postmodern Rewritings of Great Expectations to Reinvent Antipodean identities; A Study on Jack Maggs by Peter Carey and Mister Pip by Lloyd Jones." Revista de Gestão Social e Ambiental 18, no. 7 (April 12, 2024): e05530. http://dx.doi.org/10.24857/rgsa.v18n7-062.
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The present study pivots on the individual analysis of the antipodean writers` novels Jack Maggs by Peter Carey and Mister Pip by Lloyd Jones the retellings of Great Expectations by Charles Dickens. The paper concentrates on the approaches based on its perception towards ideological, historical, authorial, cultural, narrative and geographical representations of Australia in literature. The select novels are under analysis for their employment of postmodern narrative strategies such as intertextuality and carnivalesque. By applying these theories, the writers are successful in generating new ideologies, varying perspectives and reframing the status of canon. The fictionist takes cues from the fictional world which is a rhetorical construct, by having the possibility of adding and filling gaps to complete it by using intertextuality. In a postmodern scenario, the literary mode of carnivalesque is utilized to reverse the conviction of realism. The novelists give liberty to their protagonists Maggs and Matilda to vindicate their rights by unearthing the voices as well as to vocalize their stories in a way of deconstructing artificial stereotypes. One of the ideologies of postmodernism is “incredulity towards metanarratives” (p. xxiv) propound by Lyotard, it replaces by mini or local narratives. Thus, oral narratives/ storytelling take dominion and unfold a space for a new authentic narrative rendering from the indigenous other, by a subaltern voice and a cast-out victim. Objective: The paper strives to analyze its antipodean characters and their continuum with historical equivalents in Australia. The novelists try to imply and recontextualize rewritings from a broader spectrum of cultural reproductions. The article also endeavors to readdress nineteenth-century texts into their contemporary postmodern relevance. Theoretical Framework: The theoretical framework of the study is to look through the lens of postmodernism. Postmodernism believes that every text carries the fragment or traces of other texts and every work can be read against the relation or background to each other texts. In Jack Maggs the story gives the background to why and how the eponymous character becomes a convict and thus offering him a voice and re-centering him in the center like an Englishman Pip. Mister Pip is about the journey of an indigenous girl named Matilda who dives into the fictional world of Dickens amidst war and personal losses. The select novels have the ability of genre-blurring intersecting with historical novel, fictional biography, and metafiction. The point of departure from the existing research about the novels Jack Maggs and Mister Pip is that there is an alteration of focus from political resistance towards foregrounding postmodern literary struggle in rewriting. Method: The paper discusses with a postmodern study of the novel Jack Maggs and Mister Pip as a retelling of Dickens` Great Expectations. The methodology of the study is qualitative textual analysis with a postmodern approach. The theories that are applied to the select texts are, Julia Kristeva`s Intertextuality and Mikhail Bakhtin's Carnivalesque. The select novels are written to subvert Eurocentric metanarratives, which is further explained by Jean-Françoise Lyotard that, ‘those totalizing narratives are to be replaced with mini or local narratives.’ The framework of the paper is restricted to study the textual, intertextual, thematic and contextual analysis. Results and Discussion: This article investigates the way in which Australian identities are remodeled using fictional constructs. Finally, by reading these novels the readers get to know the multiple perceptions of the canon. The novel`s self-reflexivity has subdued any fixed, totalizing or final assertion towards any narrative. These novels foreground the importance of storytelling, writing, each creating their own story amid falsehood and misrepresentation. Postmodern novels are concerned with the representation of reality. It is cynical towards versions of history and reminds the readers that history itself is an artificial construct. The oral narratives/ storytelling take dominion and unfold a space for a new authentic narrative rendered from the indigenous other, by a subaltern voice and a cast-out victim. The fictional reinvention of the antipodean authors not only questions the ambiguous status of representation, but they are successful in recreating their autonomous versions of their self-supporting narratives. Thus, by reading Careys` and Jones` novels through the lens of postmodernism have attempted to evaluate the validity of western metanarratives and cultural conventions.
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Faruk, Faruk, and Fadlil Munawwar Manshur. "Pelatihan Penulisan Cerita Lokal Bergenre Magis di Komunitas Sastra Darussalam." Bakti Budaya 5, no. 1 (April 28, 2022): 61–73. http://dx.doi.org/10.22146/bakti.4076.
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The third-year of service activities (2021) at the Komunitas Sastra Darussalam were centered on training in writing local stories of the magical genre. Komunitas Sastra Darussalam has the potential to maximize the pesantren’s cultural background as the basis for their writing, such as through the genre of magical realism which is considered very close to their lives. Through training and mentoring held by the service community team, it is expected that they will ignite their ability to continue developing to compete at the national or global level. In the first year (2019), activities are focused on developing story ideas that produce mini-fictions about life with a pesantren background. In the second year (2020), service participants received training on writing realism genre literary works. So, in the third year (2021), the activities focused on the story’s substance, that is rewriting local stories (folklore) with the magical genre. From this training and mentoring that has been carried out, it was found that the tendency of writing local stories by KSD writers has shown its magical side. The stories explored by the participants were quite diverse, not only tending to explore local stories, but the participants also showed their tendencies as a pesantren community, some of them took stories with a magical substance that developed in Islam.
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Holmes, Frederick M. "Fictions, Reality, and the Authority of the Novelist: Barth’s The Sot-Weed Factor and Fowles’s The Magus." ESC: English Studies in Canada 11, no. 3 (1985): 346–60. http://dx.doi.org/10.1353/esc.1985.0007.
Full textDissertations / Theses on the topic "Mages – Fiction"
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Davies, Richard Blaine Davies Richard Blaine. "Historical fiction makes American history come to life!" [Boise, Idaho : Boise State University, 2002. http://education.boisestate.edu/bdavies.
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Thesis (M.A.)--Boise State University, 2002.Web site. Master's project includes an explanatory text and CD-ROM entitled: Historical fiction : a web site supporting secondary U.S. history courses of study-Idaho Department of Education. Includes bibliographical references.
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Drouet-Richet, Stéphanie. "Les marges du regard dans la fiction eliotienne." Paris 3, 2000. http://www.theses.fr/2000PA030127.
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Ce travail a pour objet de montrer comment, dans la fiction eliotienne, l'ecriture du regard contribue a ebranler les fondations de la representation realiste, remettant ainsi en cause les ambitions de stabilite, de permanence et d'ordre universel affichees par cette ideologie. Certes le regard descripteur encadrant est bien present dans cette oeuvre fortement ancree dans un systeme referentiel essentiellement mimetique. Le regard instaure cependant au sein du texte, veritable "machine a faire voir", un dynamisme qui l'entraine vers des espaces limites ou de l'entre-deux de la representation. Decentre, desoriente, le regard glisse le long de lignes de fuite vers des territoires fictifs et artistiques multiples. L'ecriture se fait visuelle, picturale, transgressant les codes et oscillant entre divers systemes de representation. Une etude des modalites de la vision permet de percevoir tout ce que le projet realiste comporte d'irrealisable dans ses marges. L'opacification du regard, organiquement defaillant ou occulte par des masques, dit la difficulte a bien voir, constat a valeur eminemment morale qui menace sa fonction representative et met en peril l'unite du sujet. A l'inverse, trop de regard tue le regard. Aveugle de lumiere, surdetermine, il fait obstacle a la connaissance dont il est pourtant traditionnellement la clef. Petrifie par le desir medusant, hallucine par des transes pathologiques ou mystiques, il s'abime dans une non-vision qui s'apparente au vide de la mort. La representation, aux marges du regard, est menacee dans son integrite par les premices du seisme moderniste a venir, mais non encore advenu. Si l'ecriture eliotienne explore les limites de la representation visuelle, elle reste attachee a ce systeme et affirme finalement sa foi dans le regard, qu'elle pose comme principe unificateur et heuristique, comme l'instrument de la vision lucide et eclairee qui doit mener a l'unite supreme.
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Wilson, Deborah Lynn. "Perceptual Differences Between Males and Females Concerning Sexually Harassing Behavior: Fact or Fiction? /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487935125882303.
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Gelas, Nicolas. "Fiction et humanisme dans l'oeuvre de Romain Gary : s'affranchir des limites, s'éprouver dans les marges." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20123/document.
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Récusant à la fois les déterminismes naturels et les représentations d’un ordre politique ou moral, l’œuvre de Gary est marquée par une aspiration au dépassement des limites et par une posture de résistance. Face à la haine ou à la barbarie, elle défend les vertus de la dérision et le pouvoir de l’imaginaire et s’engage dans une double démarche de mise à distance et de réenchantement du monde. Nourrie par le traumatisme de la seconde Guerre Mondiale, elle soutient l’idée que l’humain est à réinventer, qu’il n’est pas une donnée préalable mais un fiction à construire, un idéal à atteindre. Artistes et créateurs se doivent donc de contribuer à l’invention d’une nouvelle mythologie de l’homme qui vienne réaffirmer un principe inaliénable de dignité et qui instille dans l’esprit de chacun la force de ne pas désespérer. Mais l’humanisme n’est pas seulement une valeur abstraite ou un horizon à conquérir : il met aussi en question une façon d’être au monde dans le présent. Il s’agit de se prémunir de ce que la réalité peut avoir d’envahissant et de dogmatique en privilégiant des « marges » où l’humain se trouve reconnu dans ses paradoxes et sa fragilité. Loin de l’idéalisme prophétique, ces refuges deviennent un espace propice à l’expression de l’intime et permettent à la fois de se dérober au regard de l’autre et d’échapper à l’injonction des discours de vérité. Façonnés autour des valeurs de l’affectif, ils incitent chacun à se rendre sensible à l’humanité latente du monde. Ils viennent rappeler que, face aux certitudes inflexibles et au principe aliénant de transparence, l’approximation et le mystère ouvrent des espaces de liberté et conditionnent bien souvent la possibilité d’être heureuxChallenging both apparent determinism and political or moral representations, Gary's work is defined by its predilection for off limit situations and contentious attitudes. Confronted with hatred or barbarism, it will always stand for irony and the power of creativity, involved both in the process of getting detached as well as enrapturing the world anew. Fed on the World War II trauma, it sustains the concept of humanness needing reinvention, not being a set notion but a fiction to be built, an ideal to achieve. Artists and creators owe their contribution to such foundation of a new human mythology upholding the unalienable principle of dignity, thus implanting everyone's spirit with the strength to resist despair. However, humanism cannot be seen just as an abstracted value or some shore to reach, it also implies the actual manner of living in the world. One has to keep clear from whatever overwhelming dogmas reality can impose, by favoring “margins” that will accept human contradictions and frailty. Away from any prophetic idealism, these dedicated spaces become shelters for intimate expression, allowing one to avoid onlookers and escape compelling truth assessments. Shaped around affective values, they bring one to become sensitive to a potential world humanity. Against rigid certitudes and the alienating principle of transparency, they help remember that approximation and mystery can give access to freedom and oftentimes condition the possibility of happiness
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De, Nittis Elizabeth MacInnes. "Gender and the grotesque in the short fiction of Joyce Carol Oates." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/denittise/elizabethdenittis.pdf.
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Franks, Jamie N. "Becoming Other: Virtual Realities in Contemporary Science Fiction." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1908.
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The purpose of this thesis was to explore the boundary between human and other created by virtual worlds in contemporary science fiction novels. After a close reading of the three novels: Surface Detail, Existence, and Lady of Mazes, and the application of contemporary literary theories, the boundary presented itself and led to the discovery of where the human becomes other. The human becomes other when it becomes lost to the virtual world and no longer exists or interacts with material reality. Each of the primary texts exhibits both virtual reality and humanity in different ways, and each is explored to find where humanity falls apart. Overall, when these theories are applied to real life there is no real way to avoid the potential for fully immersive virtual worlds, but there are ways to avoid their alienating effects.
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King, Nikole June. "Men's physique standars of embodiment and Middle-class masculinity in Nineteenth-century British and American fiction /." Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?index=96&did=1906549281&SrchMode=1&sid=1&Fmt=7&retrieveGroup=0&VType=PQD&VInst=PROD&RQT=309&VName=PQD&TS=1270483425&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2009.Includes abstract. Includes bibliographical references (leaves 262-274). Issued in print and online. Available via ProQuest Digital Dissertations.
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Martins, de Carvalho Adilia Cristina Ferreira Castro. "Lecture des marges dans les oeuvres de Maria Velho da Costa et Teolinda Gersão." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030032/document.
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Les textes de Maria Velho da Costa et de Teolinda Gersão sont habités par des paysages, des archétypes et des autoréflexivités configurés dans des marges, lieux périphériques, qui révèlent simultanément la place centrale occupée par le sujet féminin. La notion de paysage, matière de la première partie de cette étude, s’articule avec celle d’archétype (de relation archétypique) et d’autoréflexivité, notions traitées respectivement dans la deuxième et troisième parties, à travers - une coordonnée commune - l’espace envisagé sous les trois aspects suivants : le physique, le social et le mental. Les paysages apparaissent dans une marge physique par rapport au centre occupé par le sujet qui les construit. Les archétypes de l’Amazone, de la Sorcière et de la Folle, dans lesquels les personnages féminins se retrouvent, actualisent leur exclusion du cercle social en les renvoyant vers les marges périphériques que peuvent être la nature sauvage ou l’asile psychiatrique. L’autoréflexivité à la marge du texte, « à côté » de ce qui serait censé être le contenu de l’œuvre, s’avère un lieu marginal par rapport au centre traditionnellement occupé par la diégèse. L’intention sous-jacente à cette étude est d’analyser les configurations de paysages, d’archétypes, de relations archétypiques et de réflexions sur l’écriture au sein des récits fictionnels, qui manifestent une dimension marginale périphérique et paradoxalement contribuent à l’actualisation des subjectivités et des quêtes identitaires « au féminin » recherchées par les Auteurs, les narratrices et les personnages femmes dont la vitalité centrale déstabilise dichotomies et dualismesThe texts of Maria Velho da Costa and Teolinda Gersão are inhabited by landscapes, archetypes and self-reflexivity configured in margins, peripheral zones, that simultaneously unveil the central place occupied by the female subject. The matter of the first section of this work, the concept of landscape hinges on the ones of archetype [the archetypal relation] and of self-reflexivity - both being respectively dealt with in the second and in the third sections of this work - through a co-ordinate they share: space considered in these three aspects, the physical, the social and the mental. Landscapes appear in a physical margin in relation to the centre inhabited by the subject that builds them. Embodied by female characters, the archetypes of the Amazon, the Witch and the Madwoman emblematize these characters’ being excluded from the social circle as they are being pushed off to the periphery, whether it be the wilderness or the lunatic asy! lum. Situated in the margins of the text, “beside” the would-be content of the work, self-reflexivity turns out to be a marginal place with regard to the centre, traditionally held by the diegesis. This study aims at analysing configurations of landscapes, archetypes, archetypal relations and reflections on writing within fictions that, while possessing a peripheral and marginal dimension, still manage to paradoxically contribute to rendering female subjectivities and identity quests sought by the Authors and the female narrators and characters whose central vitality unsteadies dichotomies and binary oppositions
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Couderc, Mathieu. "Identités subies, identités intégrées : les Grecs dans les sociétés européennes du nord-ouest (Angleterre, Etats bourguignons, France et leurs marges) : début XVè - fin XVIè siècles." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H009/document.
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Ce travail de thèse entend prendre en compte l'analyse d'un groupe humain évoluant dans un cadre géographique trop longtemps délaissé par l'historiographie et pour une période chronologique élargie par rapport à la tradition consacrée. Les Grecs, qui quittent leurs cadres de vie originels sous l'effet de causes variées (exils suite à la conquête ottomane intérêts économiques, humanistes ou religieux) entre le début du XVe siècle et la fin du XVI" siècle, se dirigent e majorité vers la Péninsule italienne. Certains n'y effectuent qu'un passage quand d'autres décident de s'implante durablement. Or, la chaîne montagneuse des Alpes a semble-t-il fait office de barrière infranchissable pour les Grecs aux yeux de nombre d'historiens. Or, les Grecs se déplacent hors d'Italie, quoiqu'en nombre très restreint : comme en Italie certains ne restent pas et d'autres s'installent. Leur étude révèle des logiques et des comportements originaux par rapport à ce qu'on observe plus au sud (comme l'organisation grecque en milieu urbain). La reprise de toute la documentation disponible mène à l'étude de trois axes majeurs : la construction d'une prosopographie grecque au nord des Alpes l'analyse des comportements sociaux des Grecs entre eux et avec les locaux ; une analyse fine des textes occidentaux que cherchent à comprendre, expliquer et verbaliser l'apparition de populations largement mal connues, souvent fantasmée et fréquemment décrites en des termes qui diffèrent de la vision personnelle que les Grecs peuvent avoir d'eux-mêmes. Toute l'analyse mène donc à une nouvelle approche de la fabrique des identités grecquesThe aim of this work is about studying mechanisms of identities' creation. Indeed, The Greeks are people who were leaded to leave Greece because of political (the rise of the Turks), economics (some are merchant) or religious reasons (some became Catholics since the council of Florence in 1439). For these reasons, the Greeks came first to Italy. Few of them decided to follow their path to Northern Europe, towards England, Burgundian States and France. Of course, they were only a handful of them, but we tried to understand who were they and what was their purpose. First we determined what were their number their qualities, their activities and their intentions. Secondly, we tried to evaluate the Greeks as strangers or as members diasporic groups like the historiography traditionally qualify the m. We brought to light that the Greeks couldn't be understood as rigid societies which were never changing: sometimes they were received as strangers and excluded from western societies sometimes not. A Greek could change during his life : he could be a poor and foreigner migrant during a certain period an then become a rich merchant integrated to a western society few years later. The third part of our work was to understand t meaning of the word 'Greek' which is often applied in documents: did the word 'Greek' get the same meaning in England in France, during the early fifteenth century or the end of the sixteenth century? Of course, not. We explained the documentation built a stereotypical speech about the Greeks, about what they were supposed to be, to eat, to wear, to spear or to pray . This is the Greek Identities' Laboratory
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REGAM, ABDELHAD. "Les marges du texte : incipit, desinit et paratexte dans la fiction narrative francaise aux dix-neuvieme et vingtieme siecles." Paris 8, 1991. http://www.theses.fr/1992PA080686.
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A partir d'un corpus de 43 romans francais des dix-neuvieme et vigntieme siecles, il s'agit de decrire et d'interpreter le fonctionnement de ces marges du texte que sont l'incipit, le desinit et le paratexte, considerees separement d'abord, dans leurs rapports ensuite, en utilisant l'appareil methodologique structuraliste et l7analyse socio-historique, ceci dans le but de voir dans quelle mesure ces marges appartiennent a la zone d'un contrat de lecture, ou sont uniquement le respect des conventions d'un genre, ou revelent une operation de mise en sens. Il apparait alors que si les procedures utilisees se depassent mutuellement et sont parfois le lieu de leur propre contestation, dans leurs effets, elles impliquent la legalite du code qu'elles enfreignent, de meme qu'elles portent les traces de traits anciens, fondateurs du recit. Il y a donc a la fois ecart et persistance. Cette derniere releve du recit comme phenomene transculturel et transhistorique, dont les fondements resistent aux mouvements du roman. Et l'ecart traduit les transformations du roman, necessairement lie a l'evolution de l'histoire et de la societeTaking as a base a corpus of forty three french novels of the 19th and 20th centuries, our aim is the description and interpretation of the functioning of these margins, the "incipit", the "desinit" and the paratext, considered separately and in their relations to each other. The structuralist methodology and the socio-historical analysis are the instruments used to see if these margins belong to an agreed on contract of reading, or if they are ximply the respect of the conventions of a genre, or they reveal an operation of meaning. It appears then that if the procedures used are no longer valid (operating) and are sometimes the object of their own contestation, their effects may therefore involve the legality of the code they transgress. They may also contain signs of ancient characteristics that underlie the narrative account. The matter that calls at the same time distance and persistence. This latter belongs to the narrative account as a transcultural and transhistorical phenomenon which the bases resist the mouvements of the novel. Also the distance, necessarily linked to the evolution of history and society, expresses the novel transformations
Books on the topic "Mages – Fiction"
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Condé, Maryse. Les derniers rois mages. [Paris]: Mercure de France, 1992.
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Miller, Karen. A blight of mages. New York: Orbit, 2011.
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Condé, Maryse. Les derniers rois mages: Roman. Paris: Mercure de France, 1992.
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DeWitt, Kelly, ed. I Eat Butterflies: Tales of Vampires, Mages & Mutants. United States: Swooping Grizzly Publications, 2011.
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Locke, Katica. Magebound. Clayton, NC: P.D. Pub., 2009.
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Magebound. Clayton, NC: P.D. Pub., 2009.
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1926-, FOWLES JOHN. The magus. New York: Modern Library, 1998.
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1926-, FOWLES JOHN. The magus. London: Vintage, 1997.
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1926-, FOWLES JOHN. The magus. New York: Dell Pub. Co., 1985.
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Walker, Fiona. Between males. London: Coronet, 2001.
Find full textBook chapters on the topic "Mages – Fiction"
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Hart, Jonathan. "The Author Makes a Comeback." In Fictional and Historical Worlds, 35–55. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137012647_3.
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Wiegandt, Kai. "Futurology, Allegory, Time Travel: What Makes Science Fiction Fascinating." In The Fascination with Unknown Time, 273–92. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66438-5_13.
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Gomel, Elana. "The Human Trinity: What Makes Us Other?" In Science Fiction, Alien Encounters, and the Ethics of Posthumanism, 149–86. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137367631_6.
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Greiner, Rasmus. "Fiction Film and History." In Cinematic Histospheres, 17–35. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_2.
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AbstractAs well as taking stock of the existing literature on film and history, this chapter aims to develop a terminological apparatus for describing the conceptual core of the historical film. The first section makes reference to a classic semiological model according to which a film’s production of meaning is determined by its specific arrangement of signs. It draws parallels to debates within historical studies that have enabled a reassessment of fiction film as a historiographical medium and mode of conceptualizing history. Building on these considerations, the second section posits a genre of popular fiction film defined by its referential relation to historical events, individuals, and lifeworlds. The third section argues that this is less a matter of incontrovertible factual accuracy than of generating a feeling of authenticity.
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Zaplana, Esther. "Self-Representation “Between Two”: Aging Males and the “Otherness Within” in Philip Roth’s Patrimony." In Aging Masculinities in Contemporary U.S. Fiction, 95–108. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71596-0_7.
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Hennessey, John L. "Introduction to History and Speculative Fiction: Essays in Honor of Gunlög Fur." In History and Speculative Fiction, 1–25. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-42235-5_1.
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AbstractThis introductory chapter makes the case that despite different epistemological starting points, history and speculative fiction are both arguably “literatures of cognitive estrangement.” Both can help expose invisible problematic aspects of their authors’ and readers’ societies and suggest possible solutions or futures. Summarizing relevant existing literature and theoretical perspectives, the chapter suggests the usefulness of the postcolonial concept of concurrences for both modes and different possible ways to define the two. It also investigates the relationship that history and speculative fiction have to colonial ideology and ecocriticism, as well as presenting the structure of the book.
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Lavery, Charne. "“Spoken Nowhere but on the Water”: Amitav Ghosh’s Sea of Poppies and Lost-and-Found Languages of the Indian Ocean World." In Maritime Mobilities in Anglophone Literature and Culture, 235–47. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-91275-8_12.
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AbstractAmitav Ghosh’s fictional oeuvre makes a major contribution to contemporary sea fiction, particularly that written from a non-Eurocentric perspective. His Ibis trilogy, for instance, paints a vivid picture of historical oceanic mobility in the form of ship journeys and littoral interconnections, centered on and in the Indian Ocean world. This chapter explores one aspect of that mobility, a language “spoken only on the water,” a roving dialect that Ghosh both painstakingly and playfully recreates in the first novel of the trilogy, Sea of Poppies. Laskari is a dialect that was spoken among lascar sailors born of, and borne on, the Indian Ocean. This essay examines the ways in which two dominant areas of Ghosh’s experimentation and interest—language and the sea—intersect in Sea of Poppies, through a focus on laskari as a lingua franca of work. It argues that the intersection can be approached in three ways: through the lens of Ghosh’s production of Indian Ocean space, as a language of South-South mobility; through the lens of sailor speech as a vernacular associated particularly with the craft of sail, participating in a tradition of sea fiction that harks back to Conrad and Melville; and, briefly, through the lens of postcolonial ecology, as a language that has been lost and only partially recovered.
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Zunshine, Lisa. "Belief Is a Mess. That Makes It Good for Fiction. (A Perspective From Cognitive Literary Theory)." In The Routledge Handbook of Fiction and Belief, 88–100. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003119456-9.
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Piocos III, Carlos M. "Sexuality, Shame and Subversions in Indonesian Migrant Women’s Fiction." In Gender, Islam and Sexuality in Contemporary Indonesia, 145–68. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5659-3_8.
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AbstractThis contribution examines malu (shame) as an effect of Indonesian women’s migration, illustrating how gendered moral discourses shape the problematic politics of labour migration in the country. It argues that shame not only reinforces several problematic gender and moral discourses imposed on Indonesian migrant women but also heightens their precarious role and place in their home and host countries.This essay probes into the possibilities opened by Indonesian migrant domestic workers themselves as they write, publish and circulate their own stories in Hong Kong, Singapore and Taiwan as part of the emerging cultural production of Sastra Buruh Migran Indonesia, Indonesian Migrant Workers’ Literature. It makes an innovative contribution to this collection by analysing how, in five short fiction anthologies of Indonesian migrant domestic workersin Hong Kong, Singapore and Taiwan, instances of shame and shaming matter in the representation of their daily lives and how they narrate their encounters and practices of queer sexual identities and interracial intimacies in transnational spaces. Through migrant women’s understanding of what counts as malu, I argue that their stories present a more complex negotiation of their precariousness, as they exhibit instances of agencyand mobility that go beyond traditional gender discourses upheld back home.
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Loreau, Michel. "Homo sapiens, a species among many others . . . but not quite like the others." In Nature That Makes Us Human, 9–24. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197628430.003.0002.
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Abstract This chapter begins by establishing some scientific foundations on the point of convergence of humans and nature, namely the nature of humans themselves. It shows that science is systematically destroying, one by one, all the old prejudices that claimed to make humans a species apart, at the top of creation. In particular, recent scientific studies have convincingly shown that self-awareness, empathy, thought, language, culture, morality, tool making, and tool use are also present in animals. What appears to distinguish humans from other animals is their capacity for creative supposition, i.e., their propensity to make fiction, especially collective fiction. Collective fictions are the glue that binds together human societies, for better or for worse.
Conference papers on the topic "Mages – Fiction"
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Birzul', Aleksei Nikolaevich, and Dmitry Aleksandrovich Pitilyak. "DEVELOPMENT OF THE LITERARY METHODS IN STRENGTH OF MATERIALS IN HIGHER SCHOOL." In International Research-to-practice conference. Publishing house Sreda, 2023. http://dx.doi.org/10.31483/r-107803.
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The article makes an attempt to generalize the experience of using educational, fiction and memoir literature when lecturing on the course on strength of materials. Specific methodological recommendations are given for using of fiction in certain topics of the strength of materials course. There are creative tasks offered to students and which contain literary subjects.
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Vasilateanu, Andrei, Sebastian Wyrazic, and Bujor ionel Pavaloiu. "A SCIENCE FICTION SERIOUS GAME FOR LEARNING PROGRAMMING LANGUAGES." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-082.
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The paper presents a serious game, implemented as a software application, aimed towards beginner programmers with the purpose of teaching programming languages fundamentals. The application is a top-down 2D game combining elements from the shooter and strategy (particularly tower defense) genres, with high-level visual programming elements, giving it an educational component. The user creates the scripts in a visual manner, creating the flow of scripting elements then programming each element. Serious games are games which are designed and developed without having entertainment as their main purpose. Instead, their primary purpose is to educate, train, or inform their audience. The meaning of the term has evolved in the last few years and currently it is usually assumed that serious games are video games, rather than physical, non-digital games. Digital game-based learning is a subset of serious games having as a main purpose to educate the player through the use of video games. Video games manage to keep the players interested, even if they find themselves in challenging situations, and this is on account of the intrinsic motivation they achieve to maintain on the players. What makes learning an intrinsically motivating process is similar to what makes a video game intrinsically motivating, this being challenge, curiosity, fantasy and control. Contextualization, personalization, and choice improve the intrinsic motivation of a learner, thus increasing their degree of engagement in the learning process and ameliorating their learning performance. These three properties are often present in most video games. This compatibility between video games and learning makes integrating the one to the other an easier accomplishment. While some other serious games aimed at programming exist, such as RoboCode, CodeCombat, Kernel Panic, CoLoBoT, CeeBot, CodeSpells, there is still much room for innovation, and our application explores new features and modes of play, focusing more on the program structure and logic than on the syntax.
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Brookner, Eli. "Boston radar history - from $10,000 magee to $10 single chip T/R module … better than fiction." In 2009 IEEE MTT-S International Microwave Symposium Digest (MTT). IEEE, 2009. http://dx.doi.org/10.1109/mwsym.2009.5165968.
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PRELIPCEANU, Cosmin. "Image and Post-Truth." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0024.
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Nowadays, under the non-stop assault of over-information and the multitude of sources and media, the consumers of information (related to non-fiction audio-visual content) suffer from an overflow. They are oversaturated, blasé, disinterested, they have the feeling they know everything and are entitled to jump straight to conclusion (their own or ready-made conclusions). The content they cannot process is rejected. With such an audience, content creators diversify their arsenal of stimuli: shocking images and sound, partisan speech that confirms the viewer's own perceptions and beliefs. But mostly, emotions. Emotion is the most powerful stimulus applied to the viewer and has an enviable effect among content creators. The emotionally connected viewer will develop trust, dependence on the source of information and, in conjunction with other stimuli, will become susceptible to mobilization. It is a key effect in the study of disinformation and propaganda, which makes it possible to manipulate the viewer into acting in a certain way. In other words, emotion becomes a tool. It is used intentionally to trigger a certain reaction from the audience. Our research analyses the extent to which the need for emotion in the news shapes reality, that is the events as they happened, and how we would expect them to be covered on screen. We follow the methods that journalists use to give viewers as much of this stimulus as possible, once considered a foreign body in the news bulletin. And in the analysis of the media content (image and sound) we notice how two fields that once seemed utterly opposed by reference to objective reality (physical truth), journalism and artistic creation (fiction), ended up sharing a common ground, that of emotion. The corpus of our analysis consists of CNN, BBC and RT television reports on the war in Syria during two of its key moments, the WMD attacks of 2013 and 2018. The study method we will apply is rhetorical analysis, proposed by Professor Guillaume Soulez from the University of Sorbonne. This is how we reach a second junction, because the French professor proposes discursive analysis for any kind of media content, whether fictional or not.
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Grogorick, Linda, Moritz Rohde, Bijan Khosrawi-Rad, and Susanne Robra-Bissantz. "Fiction or Reality – Which Game Story Promotes Learning Outcome More?" In 36th Bled eConference – Digital Economy and Society: The Balancing Act for Digital Innovation in Times of Instability. University of Maribor Press, 2023. http://dx.doi.org/10.18690/um.fov.6.2023.28.
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Digital Game-based Learning (DGBL) has achieved several positive results in recent years, e.g., increased fun, motivation, or learning outcome. However, many DGBL applications fail, which makes an isolated consideration of individual game elements and their influence on learning necessary to better design future DGBL applications. One widely used game element is the game story. As there is little research on how a game story should be designed to promote learning, this paper conducts an experiment comparing a fictional game story with a realistic one. The results show that both game stories lead to a significant objective knowledge gain. In terms of learning outcome, both game stories achieved similar results.
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Poverennaya, Anastasiya Alexandrovna, and Yuriy Petrovich Nechay. "THE ROLE OF METAPHOR AND COMPARISON IN THE VERBALIZATION OF THE CONCEPT OF "EMIGRANT" (BASED ON THE MATERIAL OF V. NABOKOV'S PROSE)." In Themed collection of papers from Foreign International Scientific Conference « Science in the Era of Challenges and Global Changes» Ьу НNRI «National development» in cooperation with AFP (Puerto Cabezas, Nicaragua). Мау 2023. - Caracas (Venezuela). Crossref, 2023. http://dx.doi.org/10.37539/230527.2023.17.20.009.
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Based on the material of V. Nabokov's fiction, a linguistic analysis of the functional role of metaphor and comparison in the verbalization of the concept of "emigrant" is carried out. Despite their proximity, the ways of implementing these tropes in the texts of the novels are carried out in different ways. It is concluded that the presence of metaphorical formations and comparisons makes it possible to convey with greater efficiency and emotional and expressive authenticity the writer's intention and his subjective positive or negative attitude to the depicted.
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Vasileva, Irina. "ABOUT THE BOUNDARY MARKERS OF THE TRANSITION PERIODS: LYRICAL DIGRESSIONS IN THE FICTION BY ANTON CHEKHOV." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.03.
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Anton Chekhov is generally acknowledged as a writer who symbolizes a transition period, marks the end of the Classical Russian literature of the 19th century and establishes the basics of the poetics of the 20th century. Scholars are traditionally focused on Chekhov’s innovations but not on the connections with the previous tradition. This contribution makes an attempt to reassess the aspect of Chekhov’s poetics which could be called historical “form’s thinking” (in Alexander Mikhailov’s terminology). I mean the features of tradition which result from historical dynamics of culture and are beyond individual principles of artistic consciousness. In the culture prior to the New Age, topos was a form which included both principles and ways of thinking. In this research I analyze lyrical digressions in the Russian fiction of the 19th century which correlate with topoi on the basis of their constitution. The strategy of lyrical digressions rests on the movement between two poles of the being: historical and eternal, individual and universal, etc. Before Chekhov, this movement was strictly hierarchical. In Chekhov’s lyrical digressions one can easily notice a shift of semantic coordinates when the concrete and the situational becomes valuable. However, the poles themselves (individual and universal) and the movement between them remain invariable. It is possible to claim that Chekhov’s poetics although discovers the boundaries of semantic dynamics of the lyrical digressions (as a constant form) is not aware of any other principle of thinking. This fact distinguishes Chekhov from his younger contemporaries and makes him the writer of the classical 19th century. Refs 20.
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Tereshko, Ekaterina V. "CONTEXTS OF THE USE OF THE DEFINITE ARTICLE UNDER STRESS IN DUTCH." In Проблемы языка: взгляд молодых учёных. Институт языкознания РАН, 2023. http://dx.doi.org/10.37892/978-5-6049527-1-9-2.
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In linguistics, there is a widespread belief that the article cannot be in the stressed position, because if it is in this position, we perceive it as a (short) form of the indicative pronoun. However, the materials of the Dutch language refute this statement, telling us that at least in some languages the article can take on the accent. In Dutch, this accent is often marked graphically, which makes it easier to find examples and prove their relevance. This article examines the contexts in which the accented article is used in Dutch, among which the contrastive and the emphatic contexts stand out. The study is based on a sample of corpus examples from a corpus of ≈1.5 million tokens of fiction. While examining the examples, an assumption is made about the categorical polysemy of articles.
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Манцаева, Айна Новрдиевна, and Фарида Абдулхаевна Ибрагимова. "MEANINGS OF NAMES IN THE WORKS OF BRITISH WRITERS: NAMES IN J. R. R. TOLKIEN’S FICTION." In Наука. Исследования. Практика: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Апрель 2020). Crossref, 2020. http://dx.doi.org/10.37539/srp290.2020.42.50.014.
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В данной статье рассматриваются основные тенденции в изучении лингвистических ономастических процессов толкования имен, семантическое положение имен собственных и вероятные последствия, которые имена оказывают на читателей. Цель данной статьи - подчеркнуть актуальность и потенциал литературной ономастики, использование и роль имен в литературных произведениях, а также аспекты именования, которые играют важную роль в сложности и привлекательности художественной литературы. В качестве примера рассматривается новое исследование в области имен из журнала ономастики о том, что делают имена собственные в Средиземье Толкина такими подходящими. This article discusses the major trends in scholarship about linguistic onomastic processes of construing names, the semantic standing of proper names, and the probable consequences names have on readers. The aim of this paper is to emphasize the relevance and potential of literary onomastics, the employment and role of names in literary works, and naming aspects that are instrumental in the complexity and appeal of the fiction. As examples, we examine a new research in Names from the Journal of Onomastics about what makes the proper names of Tolkien’s Middle-Earth so fitting.
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Légrádi, Miklós. "‘Find the book that speaks to you! – A qualitative pilot study for research on Book Consumption." In Egyesület a Marketing Oktatásért és Kutatásért XXIX. Nemzetközi Konferencia. Egyesület a Marketing Oktatásért és Kutatásért, Szegedi Tudományegyetem Gazdaságtudományi Kar, 2023. http://dx.doi.org/10.62561/emok-2023-19.
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Sales numbers in printed books have been on the slope since many years in Hungary and in many other countries too. Finding the motivations among these decreasing trends of reading and book consumption may eventually help in turning the book industry’s way on this downhill backwards and putting the book consumption on rising trails again. A series of interviews and focus group interviews are coming up within the frames of a doctoral research targeting the exploration of motivators for book consumption and the consumer behavior of book consumers. This article presents a pilot study done in the exploratory phase of the research. The study is a mini focus group interview conducted with fiction reader participants. The article summarizes the theoretical background for book consumption. Being a white spot in the academic discussion, the study outlines the Book Consumption areas for exploration: Reading habits; Parallel Reading; Preferences over E-book v. Printed books; Preferences over the physical attributes of a book; Ways of choosing books to read; Motivations for reading; Re-reading; Process of Book purchasing; Giving Feedback and Recommendations. Analyzing the group discussion the article identifies research topics to be covered in future qualitative studies and suggests potential variables for quantitative research. The study makes suggestions for future research.
Reports on the topic "Mages – Fiction"
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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina, and Ekaterina O. Shmeltser. Technology of presentation of literature on the Emoji Maker platform: pedagogical function of graphic mimesis. [б. в.], July 2020. http://dx.doi.org/10.31812/123456789/3864.
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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.