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Journal articles on the topic 'Mainstream fiction'
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Topash-Caldwell, Blaire. "“Beam us up, Bgwëthnėnė!” Indigenizing science (fiction)." AlterNative: An International Journal of Indigenous Peoples 16, no. 2 (June 2020): 81–89. http://dx.doi.org/10.1177/1177180120917479.
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The popularity of Indigenous-authored science fiction art, literature, film, and even video games has exploded in recent years. More than just a niche interest, these works have material effects on the possibilities young Indigenous people envision for themselves. Contrary to research on the negative effects of Native American stereotypes on youth, positive representations of Native peoples found in Indigenous science fiction portray alternative futurisms to those represented in mainstream science fiction. Developed in concert with traditional knowledge and value systems, alternative futurisms as depicted in Indigenous science fiction forefront Indigenous agency in a genre where Indigeneity is either absent or made irrelevant. This article investigates the ways in which Indigenous science fiction creators leverage traditional knowledge systems to paint a picture of Indigenous futures that depart from mainstream science fiction in material ways.
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Garrido Ardila, Juan Antonio. "Las rutas del «Quijote» por la novela inglesa del siglo XVIII." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 17. http://dx.doi.org/10.17811/cesxviii.26.2016.17-31.
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RESUMENEste artículo sopesa las principales derrotas en las investigaciones en torno a la presencia, recepción e influjo del Quijote en la novela inglesa del siglo XVIII. Se parte aquí de la distinción establecida entre novelas inglesas dieciochescas de temática quijotesca (las denominadas Quixotic fictions) y aquellas cuyas características formales se inspiran en el Quijote (las Cervantean novels). Respecto de las primeras se subraya la escasez deestudios y las muchas posibilidades que estas brindan al estudioso que quiera indagar en el tratamiento satírico de la compleja sociedad que las inspiró. De las Cervantean novels se destaca su engarce con la literatura de los dos siglos precedentes. La influencia cervantina en autores del Dieciocho como Fielding, Smollett y Sterne, en contraposición a la influencia picaresca en el Diecisiete, se explica aquí por razón de la necesidad, enla primera mitad del XVIII, de dotar la narrativa inglesa de las características formales de la novela moderna, lo cual hallaron en el Quijote.PALABRAS CLAVECervantes en Inglaterra, Quijote, novela inglesa del siglo XVIII, ficción cervantina, ficción quijotesca. TITLE«Don Quixote’s» sallies in eighteenth-century english fictionABSTRACTThis article is a critique of the mainstream strands in the research into Don Quixote’s reception in England and its influence on eighteenth-century English fiction. It offers a survey of the fictional narratives with a quixotic theme (the so-called Quixotic fictions) and those which deploy formal features taken from Don Quixote(known as Cervantean novels). The discussion of Quixotic fictions notes they have attracted little critical attention, and suggests the need for future studies of their intriguing satirical scope. This article also pinpoints the need to study Cervantean fictions of the eighteenth century in relation to seventeenth-century English fiction. This article notes that whilst Spanish picaresque novels were the main foreign influence on English fiction of the seventeenth century, the great writers of the eighteenth century, namely Fielding, Smollett and Sterne, preferred Don Quixote since Cervantes’ novel provided them with the formal features of the modern novel, at a time when these authors sought to establish canon of modern fiction in the English language.KEY WORDSCervantes in England, Don Quixote, eighteenth-century English novel, Cervantean fiction, Quixotic fiction.
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Steble, Janez. "The role of science fiction within the fluidity of slipstream literature." Acta Neophilologica 48, no. 1-2 (December 15, 2015): 67–86. http://dx.doi.org/10.4312/an.48.1-2.67-86.
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The paper explores the complex and contradictory role of science fiction in slipstream, the type of postmodern non-realistic literature situated between the fantastic genres and the mainstream literary fiction. Because of its unstable status of occupying an interstitial position between multiple literary conventions, the article first deals with an expansive terminology affiliated with slipstream and elucidates upon using a unified term for it. Avantpop, transrealism, and interstitial fiction all help us in understanding the vast postmodern horizon of slipstream. Furthermore, the slipstream's philosophy of cognitive dissonance in comparison to science fiction's is analysed to see the similarities and differences between them. The section is mainly concerned on expanding Darko Suvin's concept of cognition and viewing it as partially compatible with slipstream's estrangement techniques. The final part is focused on the exemplary slipstream novel Vurt by Jeff Noon, a perfect example of science fiction providing material, including latest post-Newtonian paradigms of science, for slipstream to mould it in its own fashion.
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Burcar, Lilijana. "Traversing and contesting the textuality of gender in mainstream children's fiction." Acta Neophilologica 36, no. 1-2 (December 1, 2003): 153–62. http://dx.doi.org/10.4312/an.36.1-2.153-162.
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The article first outlines the way in which mainstream children's fiction has traditionally sought to address and underrnine the artificiality of oppositional and hierarchical gender paradigms. Pro-ferninist texts that abound in mainstream children's literature have never really extricated themselves from the bonds of gender-related binarisations and hierarchizations because their approach in delineating girl protagonists hasbeen premised primarily upon a mere reverslil of masculine and ferninine defined attributes. By insisting only on the exarnination and reversal of attributes, mainstream children's fiction has fallen short of investigating narrative mechanisms which are essential to the understanding of how subjectivities, regardless of their feminine or masculine inflections, are constituted in the first place. To address this issue, it is argued that children's mainstream literature should embrace such literary devices as metafiction and genre mixing. The article goes on to demonstrate the kind of impact these devices have in challenging and underrnining the socially constructed notions of oppositional and hierarchical gender paradigms on those children who have been subject to traditionalliterary socialization.
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Selejan, Corina. "Fragmentation(s) and Realism(s): Has the Fragment Gone Mainstream?" Anglica Wratislaviensia 57 (October 4, 2019): 103–12. http://dx.doi.org/10.19195/0301-7966.57.8.
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This article tackles what seems to be a revival of fragmentary fiction in English in the 21st century. It briefly traces the lineage of critical interest in the fragment from German Romanticism through Bertolt Brecht and Modernism to postmodern film studies, in an attempt to highlight not only the temporal, but also the spatial and visual dimension of discontinuity evinced by recent fragmentary fiction. Six novels published between 2005 and 2017 are discussed sequentially, in a manner redolent of cinematic movement: Tom McCarthy’s Remainder 2005, Anne Enright’s The Gathering 2007, Yaa Gyasi’s Homegoing 2016, Mohsin Hamid’s Exit West 2017, Ali Smith’s Autumn 2016, and George Saunders’s Lincoln in the Bardo 2017. The formal fragmentariness of these novels is read in connection to their recurrent themes: trauma, loss, death, grief, exile, displacement, memory and violence. In the process, the opposition between fragmentariness on the one hand and realism on the other is challenged; the argument draws on William Burroughs, Tom McCarthy and Fernand Léger. Although they are fragmentary in very different ways, all of the novels under scrutiny are what one may term “mainstream” novels, most of them boasting large readerships and having either won or been shortlisted for literary prizes such as the Booker Prize, thus seemingly confirming Ted Gioia’s contention that “mainstream literary fiction is falling to pieces”.
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Mary Ann Gillies. "The Span of Mainstream and Science Fiction (review)." ESC: English Studies in Canada 32, no. 4 (2008): 255–58. http://dx.doi.org/10.1353/esc.0.0009.
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Singh, Greg. "CGI: A Future History of Assimilation in Mainstream Science Fiction Film." Extrapolation 48, no. 3 (January 2007): 543–57. http://dx.doi.org/10.3828/extr.2007.48.3.11.
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Distelberg, B. J. "MAINSTREAM FICTION, GAY REVIEWERS, AND GAY MALE CULTURAL POLITICS IN THE 1970s." GLQ: A Journal of Lesbian and Gay Studies 16, no. 3 (January 1, 2010): 389–427. http://dx.doi.org/10.1215/10642684-2009-036.
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Rey Segovia, Ana-Clara. "Climate Fiction and its Narratives." Exchanges: The Interdisciplinary Research Journal 8, no. 2 (February 4, 2021): 47–68. http://dx.doi.org/10.31273/eirj.v8i2.539.
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In the late 20th and early 21st centuries, the narratives about a possible environmental collapse and its consequences have multiplied. This is due to a growing awareness about issues such as climate change or the energy crisis. The so-called ‘climate science fiction’ or cli-fi has reflected these concerns in highly successful films, like the two analysed here: The Day After Tomorrow (2004) and The Day the Earth Stood Still (2008), a remake of the 1951 classic. In this paper, I approach both films through an analysis of their plot and narrative structure, focusing mainly on the evolution of their main characters and storylines. I argue that these mainstream productions avoid any examination of the actual causes of the environmental crisis, turning it into a matter of individual responsibility based on Judaeo-Christian values such as guilt and redemption, especially those about the apocalypse.
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Karlsen, Joakim. "Aligning Participation with Authorship." Non-fiction Transmedia 5, no. 10 (December 31, 2016): 40. http://dx.doi.org/10.18146/2213-0969.2016.jethc111.
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The main contribution of this article is to describe how the concept of non-fiction transmedia has challenged the independent documentary film community in Norway. How the new possibilities afforded by web- and mobile media, with the potential of reconfiguring the current relation between author and audience, has been perceived and performed. Based on an extensive interview study and reflections on contributing to a non-fiction transmedia project, I argue that the emerging practice of making non-fiction transmedia face many of the same challenges as the participative documentary practice of the 70s, mainly that facilitation of real audience participation, requires a break from the broadcasting logic of the mainstream documentary film practice.
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CORNWELL, NEIL. "The Musical-Artistic Story: Hoffmann, Odoevsky and Pasternak." Comparative Critical Studies 5, no. 1 (February 2008): 35–55. http://dx.doi.org/10.3366/e1744185408000268.
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The artistic story is an acknowledged sub-genre of Romantic fiction. The ‘artist’ – usually a poet or writer, sometimes a painter, or occasionally a representative of another art form – is a common enough figure in Romantic literature, with extensions into the Gothic-fantastic, through the nineteenth and twentieth centuries. One has only to think of Bulgakov's ‘Master’ (in his celebrated The Master and Margarita). In other, on the whole more mainstream – though often at least equally complex – areas of, for instance, Russian fiction, another obvious figure of some prominence would be Doctor Iurii Zhivago. American campus fiction (without my wishing, by any means, to reduce Pale Fire to that rather bland category) offers Vladimir Nabokov's rival figure of the poet, John Shade.
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Becker, Svea, and Bruce Williams. "A Madison for Outcasts: Dance and Critical Displacements in Jean-Luc Godard’s Band of Outsiders." Hors dossier 18, no. 2-3 (August 4, 2008): 215–35. http://dx.doi.org/10.7202/018559ar.
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Abstract In light of Timothy Corrigan’s discussion of the cult film as “adopted child,” Godard’s Band of Outsiders (Bande à part) can be viewed as a film which has transcended its original destiny and opened doors to diverse critical and spectatorial receptions. Drawing upon pulp fiction and the “B movie” genre, Godard’s original intent was to make a mainstream film. But it was precisely the film’s homage to the American mainstream that soon led to its cult status in non-mainstream cinema. Based on a pulp fiction novel by Delores Hitchens, Band of Outsiders celebrates dance and movement from American popular culture and, in particular, American jazz dance as popularized in Europe in the early 1960s. In one sequence, the protagonists break into the Madison, a line dance that quickly moved from the African-American community to the white mainstream through such television shows as American Bandstand and to Europe through the work of such performers/teachers as Harold Nicholas. The freedom of movement within a structured environment, which defines the Madison, recalls the director’s own approach to filmmaking as well as his high regard for the physical dexterity of his actors. Inasmuch as each dancer dances the Madison “solo,” the dance allows individual characters to articulate through movement their mental and emotional states. At the same time, it permits the three protagonists to function as a synchronized group, a “band of outsiders.” The Madison sequence, moreover, presents a microcosm of many of the ideological and aesthetic premises of the Nouvelle Vague and is particularly reflective of Godard’s love of Americana. This dance, itself synonymous with the film, is the sequence that generates the most intricate intertextual references as well as the most divergent critical response. The Madison has thus become the vehicle through which Band of Outsiders has come to stand in for non-mainstream cinema at large.
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Kamrowska, Agnieszka. "Elektroniczny łowca: postać cyborga w kinie science fiction głównego nurtu." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 21–34. http://dx.doi.org/10.14746/i.2020.37.02.
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The aim of this text is to analyze the cyborg motif in mainstream American science fiction films, as represented by the Terminator and RoboCop film series. The cyborg characters presented in these films are focused mainly on violence and destruction, which emphasizes the technophobic attitude of the culture within which these films were made. The only redemption of their otherness is showing their humanity. For a cyborg, its technological provenance is a burden and results in its sense of guilt. In this manner, American science fiction films support anthropocentrism and the conservative status quo.
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Holly, Carol. "“You Ain't No Christian, Not ‘Cordin’ to Gospel Truth”: The Literary Theology of Rose Terry Cooke." New England Quarterly 83, no. 4 (December 2010): 674–704. http://dx.doi.org/10.1162/tneq_a_00047.
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New England regionalist writer Rose Terry Cooke, energized by the transformation of nineteenth-century evangelical Protestantism, used a variety of narrative strategies to convey her practical theology. Her fiction, which appeared in mainstream literary magazines as well as antebellum Protestant periodicals, betrays religious anxieties not dissimilar to those dominating public discourse today.
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Charles Thorpe. "Death of a Salesman: Petit-Bourgeois Dread in Philip K. Dick’s Mainstream Fiction." Science Fiction Studies 38, no. 3 (2011): 412. http://dx.doi.org/10.5621/sciefictstud.38.3.0412.
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Luna Sellés, Carmen. "Moronga, by Horacio Castellanos Moya, and the Divergence of Latin American Noir." Forum for Modern Language Studies 56, no. 3 (July 1, 2020): 347–63. http://dx.doi.org/10.1093/fmls/cqaa022.
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Abstract Taking Moronga (2018), by Salvadorian author Horacio Castellanos Moya, as a point of departure, this article focuses on the reinterpretation of mainstream crime fiction in Latin American terms. This new approach is made from both formal and thematic perspectives. Moronga is structurally fragmented; the traditional detective figure has disappeared, and the plot does not revolve around a single crime but denounces a society at large which is characterized by paranoid surveillance. The reinterpretation of the crime fiction genre in Latin American terms has opened up two different strands of noir: firstly, the so-called ‘post-neopolicial’ where crime is a mere backdrop to formal experimentation, and secondly, what Ricardo Piglia refers to as ‘ficción paranoica’ [paranoiac fiction]. Moronga is a good example of both these strands, making it an appropriate case study to analyse the ways in which Hispanic literature deviates from classic Anglophone crime fiction (particularly the North American hardboiled tradition).
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Łobodziec, Agnieszka. "Intersections of African-American Womanist Literary Approaches and Paradigms of Ethical Literary Criticism." Interlitteraria 22, no. 2 (January 16, 2018): 297. http://dx.doi.org/10.12697/il.2017.22.2.8.
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Although black American womanist literary perspectives and ethical literary criticism theory emerged from different socio-cultural contexts, a number of intersections between the two can be discerned. One of the objectives of this paper is to analyze the reasons for which some Chinese scholars and African-American women literary theoreticians are skeptical of mainstream Western literary criticism schools, which they view as insufficient for exploring works of literature derived from fusions of non-Western and Western cultural contexts. Secondly, the paper elucidates the particular value systems exhibited by fictional characters portrayed by the African-American women writers under survey. At this juncture, the means by which the writers challenge value systems based upon Western essentialist racial conceptualizations will be given primary attention. Also, the historical context of the development of womanist ethics and literary practice, particularly the manifestation of original social ethics in response to historical oppression, will be focused upon. Lastly, the didactic function of womanist literature will be considered because, more often than not, black American woman writers have endeavored to produce fiction that serves as guideposts towards conflict resolutions, involving, to a great extent, revaluation of mainstream values.
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Schneiderman, Leo. "Toni Morrison: Mothers and Daughters." Imagination, Cognition and Personality 14, no. 4 (June 1995): 273–90. http://dx.doi.org/10.2190/wb6p-hcbn-03yy-lpbr.
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The present article analyzes Morrison's novels with emphasis on the conflicted emotions of fictional African-American mothers in relation to their children. Of special interest is Morrison's depiction of the mother's role in shaping the individuation process of her daughters in a matriarchal, father-absent context. Also examined is Morrison's treatment of intergenerational continuity and the unique role of the grandmother against a background of social change. Such change is interpreted by Morrison as involving conflict between the norms of traditional, rural, folkloric black culture, and the pressures of mainstream American society. Morrison's fiction, taken as a whole, is viewed as illustrating the key role of the African-American mother in maintaining survival strategies developed by black women historically. The fate of black men in Morrison's fictional universe is also considered, along with pertinent implications for understanding African-American patterns of socialization in the broadest sense.
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Birns, Nicholas. "Introduction to John Kinsella's PINK LAKE." Thesis Eleven 155, no. 1 (December 2019): 3–7. http://dx.doi.org/10.1177/0725513619892170.
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John Kinsella’s fiction emphasizes similar themes of environmental activism, political protest, and critique of Australian society, as does his widely acclaimed poetry. As in his verse, his orientation as a fiction writer is both local and global, regional and cosmopolitan. But in his fiction Kinsella engages in a double interrogation of both mainstream society and his own posture in opposition to it. In the novella Pink Lake a film director is interviewed by an uncomprehending journalist and driven to desperation by the philistinism of Australian society. But his own arrogance, unexamined white and male privilege, and illusion that just because he practices what he calls cinema vérité he has in fact attained the truth mean that he is part of the problem as well. Kinsella examines the problematics of social critique in a neoliberal world, noting their ironies while still believing in their possibility and necessity.
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Jablensky, A. "The disease entity in psychiatry: fact or fiction?" Epidemiology and Psychiatric Sciences 21, no. 3 (May 25, 2012): 255–64. http://dx.doi.org/10.1017/s2045796012000339.
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Background.The current debate concerning the forthcoming revisions of the International Classification of Diseases (ICD) and the Diagnostic and Statistical Manual of Mental Disorders (DSM) lacks sufficient historical perspective on groundwork concepts in psychiatry, such as the nature of the disease entity, categorical typologies, dimensional models and their validity and utility.Objective.To offer an overview of the evolution and metamorphoses of the conceptual basis of classification in psychiatry, with particular focus on psychotic disorders.Method.Discursive, proceeding from history of ideas to a critique of present dilemmas.Results.Much of the present-day discussion of basic issues concerning the classification of mental disorders is a replay of debates that took place in the earlier periods of scientific psychiatry.Conclusion.The mainstream nosological paradigm adopted in psychiatry since early 20th century is in need to be critically examined and transcended with the help of concepts and methodological tools available today.
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Rasool, Syed, and Jehangir Khan. "Pashtun Images in Contemporary Pakistani Fiction in English." University of Chitral Journal of Linguistics and Literature 1, no. 1 (March 3, 2018): 23–38. http://dx.doi.org/10.33195/uochjll/1/1/02/2017.
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Living in an area that has long been a battlefield where various world powers have often been at loggerheads, Pashtuns have frequently drawn the attention of several works of fiction. Yet literary scholars have largely ignored the importance of these works of fiction looking into the lives of Pashtuns. This paper proposes that from the times of the Cold War to those of the War on Terror, Pashtun identities have been clouded by the hegemonic discourses of the contesting global powers, leading to gaps and silences in their depiction in literature.This paper argues that the Pashtun images in contemporary Pakistani fiction in English exhibit strong influences of the dominating narratives; simultaneously, however, they seem to offer various patterns of subversion of the prevailing power narratives. Despite the fact that Pashtuns are generally regarded as the most subversive people of South Asia and that their lands have been regarded significant strategically as well as geographically, yet they are portrayed as the Others of the mainstream cultural discourses. This paper aims to highlight the contours of the socio-cultural and political valuation of Pashtuns in contemporary Pakistani fiction in English.
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Maguire, Muireann. "Aleksei N. Tolstoi and the Enigmatic Engineer: A Case of Vicarious Revisionism." Slavic Review 72, no. 2 (2013): 247–66. http://dx.doi.org/10.5612/slavicreview.72.2.0247.
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In this article, Muireann Maguire examines the cultural construction of the trope of the engineer-inventor in Russia during the 1920s and 1930s, focusing on the changing representation of this archetype in three science fiction novels by Aleksei Tolstoi: Aelita (1922-23), Soiuzpiati (The Gang of Five, 1925), and Giperboloid inzhenera Garina (Engineer Garin's Death Ray, 1925-26). Tolstoi's fiction portrays engineers as misguided and self-centred at best and as amoral, megalomaniacal, and irredeemably un-Soviet at worst. This increasingly negative portrayal of the engineers in these novels, and in their later redactions and cinema versions, helped to prepare the way for the alienation of engineer and technical specialist within Soviet society, providing cultural justification for Iosif Stalin's show trials and purges of both categories in the 1930s. Tolstoi's alienation of the engineer-inventor, the traditional hero of early Soviet nauchnaia fantastika (science fiction), prefigured the occlusion of science fiction as a mainstream literary genre. As a trained engineer, former aristocrat, and returned émigré whose own status in Soviet Russia was deeply compromised, Tolstoi's literary demonization of engineers effectively purchased his own acceptance within the Stalinist literary hierarchy.
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HUTCHINSON, COLIN. "Cult Fiction: “Good” and “Bad” Communities in the Contemporary American Novel." Journal of American Studies 42, no. 1 (March 20, 2008): 35–50. http://dx.doi.org/10.1017/s0021875807004367.
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This article examines the way in which three contemporary novelists have interpreted the proliferation of cults and other independent communities in the USA. Thomas Pynchon's Vineland is read as a critique of individualism that regrets the loss of collective identity and purpose. A subsequent reading of Katherine Dunn's Geek Love demonstrates the destructive consequences of individual submission that draws parallels between the dynamics of “cult” communities and mainstream society. This is developed further in a discussion of Don DeLillo's Mao II, which is represented as an attempt to reconcile libertarian and communitarian discourses, while remaining mindful of the dangers of both.
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DENTON, STACY. "Nostalgia, Class and Rurality in Empire Falls." Journal of American Studies 45, no. 3 (April 27, 2011): 503–18. http://dx.doi.org/10.1017/s0021875811000119.
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In American society, rural spaces – particularly those of the working class – are seen as stagnant holdovers from a temporal past that “modern” society has evolved beyond. As a result, working-class rurality and those living within these places are viewed as static, ignorant, insular and so on: whatever places do not conform to the appearance of “modern” progress and development simply must be regressed, on both socioeconomic and cultural levels. While scholars in some disciplines are attempting to redress this misconception, other disciplines (like literary studies) largely align with the mainstream perspective that rurality represents a regressed past to our evolved present. However, despite the critical lack of attention to rurality as a viable space in the present, we can see in various fictional works that working-class rural spaces can effectively show us the interrelationship of rural spaces with “modern” society and culture in the present, the continuing relevance and deep history alike of said spaces, and the potential of these fictional working-class rural places to confront America's norms of progress and development within and without their fictional borders. Richard Russo's fiction illustrates the potential to bring out this critical working-class rural voice. Russo's fictional treatments afford the reader an opportunity to witness the ever-changing complexity (not the temporal and cultural regression) of working-class rurality. In turn, Russo's fictional working-class rural spaces offer a counterperspective to the mainstream (defined here as middle-class and (sub)urban) notions of progress that otherwise dismiss these perspectives. In his book Empire Falls, Russo uses nostalgia to assert this counterperspective. This nostalgia not only reaffirms the postwar and early twenty-first-century working-class rural identity of Empire Falls, but it also offers a critique of dominant conceptions of progress and development that continue into our present.
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Wilson, Anna. "Death and the Mainstream: Lesbian Detective Fiction and the Killing of the Coming-Out Story." Feminist Studies 22, no. 2 (1996): 251. http://dx.doi.org/10.2307/3178413.
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Gill, Patrick. "“The drops which fell from Shakespear’s Pen”: Hamlet in Contemporary Fiction." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 257. http://dx.doi.org/10.14198/raei.2012.25.19.
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Questions of gender, ethnicity and sexuality have all been raised by novelists intent on rewriting Shakespeare from the position of what have been seen as cultural margins. While discussions of such rewritings are ongoing, few concerted efforts have been made to trace a pattern in the treatment of Shakespearean allusion and adaptation at the hands of British and American writers of the literary mainstream. The present essay sets out to investigate the way in which three such writers —Ian McEwan, Graham Swift, and John Updike— employ allusion to/adaptations of Hamlet in their novels and what their respective stances reveal about their understanding of their role as canonical writers.
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Kuijer, Lenneke. "Democratising and Anticipating Everyday Futures Through Critical Design: A Review of Exemplars." Temes de Disseny, no. 36 (October 1, 2020): 150–77. http://dx.doi.org/10.46467/tdd36.2020.150-177.
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This article explores design’s relation with the future by analysing a collection of exemplars from design fiction and speculative design for their potential to democratise and anticipate visions of future everyday life in design. Future visions – both implicit and explicit ones – have a realising power of their own. This is especially true for design, the products of which co-shape the lives of millions of users. Rather than calling for a “better” future vision however, this paper draws on research from the social sciences and futures studies to argue for the importance of diversifying and enriching visions of future everyday life within design. Critical design is well equipped to contribute to this objective because it questions the status quo and is relatable and actionable for designers. The paper reviews exemplars from critical design for their potential to democratise and anticipate future everyday life.
To analyse their ways of engaging with future everyday life, the exemplars are positioned in the future cone model of probable, possible and preferred futures. Through this positioning, a distinction emerged between two forms of critical future engagement: alternative fictions and extrapolative fictions. Alternative fictions are explicitly positioned outside of generally expected futures, while extrapolative fictions are explicitly positioned within them. Both have their own strengths and limitations for democratising and anticipating future everyday life.
Alternative fictions enrol actors as “future people” and create scenes to depict future contexts, but can also include deployments in present day contexts to explore alternative human-artefact relations. Alternative fictions tend to be accompanied by alternative design practices. Extrapolative fictions do not include deployments and rarely propose alternative design practices, but they can play an important role in highlighting the underexposed risks of mainstream design pursuits.
Critical design can and should play a role in democratising and anticipating future everyday life. Alternative and extrapolative fictions can complement each other in this pursuit. Extrapolative fictions question the status quo from within and use the power of design to highlight underexposed aspects of expected futures. Alternative fictions question the status quo from without and use the power of design to creatively generate different objects that can be used to flesh out alternative ways of living and their related context. Further research is needed into how critical fictions are best integrated into mainstream design practices.
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Constable, Catherine. "Surfaces of Science Fiction: Enacting Gender and “Humanness” in Ex Machina." Film-Philosophy 22, no. 2 (June 2018): 281–301. http://dx.doi.org/10.3366/film.2018.0077.
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This article explores two different conceptions of the postmodern surface and their take up in relation to mainstream science fiction cinema. Each offers a rather different genealogy for considering the surfaces of the science fiction film. The first traces Frederic Jameson's conception of postmodern superficiality and its dual role as a mode of reading texts and an aesthetic paradigm. The second traces Judith Butler's conception of gender performativity, its application to technology, and the expansion of performativity as a key mechanism for the enactment of “humanness”. The reading of Ex Machina (Alex Garland, 2014) will explore the aesthetics of film's mise-en-scène with its plurality of textured and reflective surfaces. It will trace the performative constructions of gender and humanness that intersect across the film, before finally focussing on the ending as a way of addressing key issues at stake in the conceptualisation of surface readings.
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Rose, Hilary. "Dreaming the Future." Hypatia 3, no. 1 (1988): 119–37. http://dx.doi.org/10.1111/j.1527-2001.1988.tb00059.x.
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This paper describes my changing relationship to science fiction, surveying the mainstream tradition of utopian SF from a feminist perspective. Bogdanov's novels are seen as a bridge linking a pioneering analysis of science as both progress and problem to our current concerns. Lastly I discuss a number of our most loved feminist SF writers, suggesting that they have created a safe and playful space where the cultural politics of science can be both explored and shared with great numbers of women.
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Tian, Xi. "Homosexualizing “Boys Love” in China." Prism 17, no. 1 (March 1, 2020): 104–26. http://dx.doi.org/10.1215/25783491-8163817.
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Abstract Originating in Japan, “boys love” (BL) manga and fiction that focus on romantic or homoerotic male-male relationships are considered by most of their writers, readers, and scholars to be primarily by women and for women and are purposely differentiated from gay fiction and manga by both commentators and practitioners. However, BL's increasing interweaving with homosexuality and sexual minorities in China requires scholars to reread and redefine BL practice in its Chinese context. This article discusses some of the recent transformations of the BL genre in China, examines the significant role female practitioners have played in indigenizing BL, and ultimately points to the trend of consciously writing and reading BL through a homosexual lens. By reflexively constructing “gayness” in BL works, these practices have also created a peer-led educational space on nonnormative sexuality and gender identity. The author also examines how BL “poaches” official and mainstream cultures, resulting in their considering BL the primary fictional vehicle of homosexuality. She therefore suggests that the trend of conflating BL with homosexuality and the deliberate homosexualization of BL in both texts and real life have ultimately extended the cultural identity of BL, as well as its political meaning, and in practice have created a porous culture that welcomes gender diversity and helps increase the visibility of the gay community, revealing a significant social and cultural shift that cannot be ignored or reversed.
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Mũrĩithi, Wairimũ. "Fragments Towards an Impossible (Domestic) Genre of the Human in Kenyan Crime Fiction." English in Africa 47, no. 3 (February 10, 2021): 99–119. http://dx.doi.org/10.4314/eia.v47i3.6s.
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Extrajudicial executions and other forms of police violence in Kenya have always been an issue of significant concern in local and international media and human rights organisations. Reflective of this, scholarly interest in crime fiction in Kenya has grown significantly in recent years. However, the gendered implications of criminality – from sex work to errant motherhood to alternative modes of investigation – are still largely overlooked in postcolonial literary fiction and criticism. As part of a larger study on how women writers and characters shape crime fiction in Kenya, this paper critically engages with stories that the criminalised woman knows, tells, forgets, incarnates, discards or hides about the city. It does so by examining the history of urban sex workers in Kenya, the representation of ‘urban women’ in postcolonial Kenyan novels and contemporary mainstream media, and the various (post) colonial laws that criminalise sex work. Through Justina, an elusive character in Yvonne Adhiambo Owuor’s Dust, I consider how (post)colonial legislative frameworks and social life attempt to manage “impossible domesticity” (Saidiya Hartman) inside and against the geo-history of gendered and classed criminality in urban Kenyan spaces. My purpose is to interrogate hegemonic constructions of the citizen – and by extension, of the human – in Kenyan law and public morality
Keywords: crime fiction, feminism, sex work, human, homo narrans
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Dale Potts. "Indian Storyteller in the Mainstream: Henry Perley of Maine and the Pulp Fiction Market, 1910–1930." Studies in American Indian Literatures 24, no. 3 (2012): 53. http://dx.doi.org/10.5250/studamerindilite.24.3.0053.
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Al Rawi, Ahmed. "The post-colonial novels of Desmond Stewart and Ethel Mannin." Contemporary Arab Affairs 9, no. 4 (October 1, 2016): 552–64. http://dx.doi.org/10.1080/17550912.2016.1229421.
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In presenting their characters and political ideologies, Desmond Stewart (1924–81) and Ethel Mannin (1900–84) are both unique among British fiction writers because they offered different portrayals of the post-colonial Arab world than what was mostly found in Western mainstream writings. While Stewart discussed the postcolonial era in Iraq by focusing on pan-Arab national movements that rejected the British hegemony during the monarchical period, Mannin focused on the postcolonial era which followed the British occupation and was represented in the Palestinian national movements. This paper argues that Stewart and Mannin offered a more complex and diverse view of the Arab world that was far different from many other stereotypical fictional depictions. It deals more in depth with the following novels: Stewart's Leopard in the Grass (London: W. J. Pollock, 1951) and A Stranger in Eden or The Unsuitable Englishman (New York: Signet, 1954), as well as Mannin's The Road to Beersheba (Chicago: Henry Regnery, 1963) and The Night and Its Homing (London: Hutchinson, 1966).
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Wankhammer, Johannes. "Anthropomorphism, Trope, and the Hidden Life of Trees: On Peter Wohlleben’s Rhetoric." Literatur für Leser 40, no. 2 (January 1, 2017): 139–52. http://dx.doi.org/10.3726/lfl022017k_139.
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While the textual representation of plants is yet an emerging concern in academic literary studies, it has squarely arrived in the mainstream of a general reading public: The best-selling German non-fiction book of the past few years, Das geheime Leben der Bäume (2015), is a sustained writerly exercise in representing the complexity of vegetal life.147 Written by the forest ranger Peter Wohlleben, the book portrays trees as exquisitely complex creatures, exploring (among other things) their capacities for communication, memory, and community formation. In terms of genre, the work is perhaps best categorized as creative non-fiction in the tradition of Rachel Carson’s Silent Spring: Wohlleben synthesizes scientific findings about trees and forest ecosystems in an accessible and captivating form, blending science with personal experience in the service of an environmental mission – in his case, that of raising consciousness for the damaging effects of conventional forestry on ecosystems.148
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Trębicki, Grzegorz. "Debate on the merits of fantastic literature." Literatura i Kultura Popularna 25 (July 28, 2020): 237–48. http://dx.doi.org/10.19195/0867-7441.25.13.
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The possible “value” of “fantastic” or non-mimetic literature has been the subject of an on-going debate. There is, obviously, the dispute between these critics (and academics) who regard non-mimetic literature to be inferior to truly “literary” mainstream fiction and deprived of “literary merit” and those who defend it. Additionally, within the proper field of “fantastic” literature criti-cism there exists an interesting, largely theoretical (but partly also ideological) argument about the merit of particular fantastic genres and cognitive modes that seem to be inherent to those genres. Finally, the status of particular works of fantastic fiction is often debated or questioned.The present paper attempts to initialize a comprehensive discussion on the merits of non-mi-metic (fantastic) literature. It summarizes the previous discourse on the subject and searches for the reasons of various discrepancies and confusion shrouding the field. It also undertakes to dem-onstrate that these discrepancies result primarily from different criteria applied, which are, in turn, determined not only by arbitrary tastes, but, first of all, by methodological, aesthetic, cognitive, and ideological approaches.The whole discussion will, hopefully, prepare the ground for an attempt to approximate poten-tial merits of the whole of non-mimetic fiction and analyze them initially from structural, cognitive, or cultural angles.
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Tate, Adam L. "Forgotten Nineteenth-Century American Literature of Religious Conversion." Catholic Social Science Review 24 (2019): 107–18. http://dx.doi.org/10.5840/cssr20192432.
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The article examines the vision of Catholicism in the fiction of J. V. Huntington, an Episcopal clergyman who converted to Catholicism in 1849 through the influence of the Oxford Movement. Huntington wrote several Catholic novels during the 1850s that won him contemporary recognition. His view of Catholicism was very different than either the republican Catholicism that emerged from the Maryland Tradition or the ethnic Catholicism of nineteenth-century urban ghettos, an indication that the views of converts, like other Catholics sitting outside of the mainstream of modern scholarly models, complicate significantly the story of American Catholicism.
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Muñoz-González, Esther. "The Anthropocene, Cli-Fi and Food: Margaret Atwood's MaddAddam." Atlantis. Journal of the Spanish Association for Anglo-American Studies 43, no. 1 (June 28, 2021): 39–54. http://dx.doi.org/10.28914/atlantis-2021-43.1.03.
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This article examines Margaret Atwood’s climate fiction novel MaddAddam (2013), a dystopian cautionary text in which food production and eating become ethical choices related to individual agency and linked to sustainability. In the novel, both mainstream environmentalism and deep ecologism are shown to be insufficient and fundamentally irrelevant in the face of a submissive population, in a state of passivity that environmental studies scholar Stacy Alaimo relates to a scientific and masculinist interpretation of the Anthropocene. The article focuses on edibility as a key element in negotiating identity, belonging, cohabitation and the frontiers of the new MaddAddam postapocalyptic community.
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Callueng, Erly S. Parungao, and Jennie V. Jocson. "Mind Style and Motherhood in 21st Century Philippine Fiction." International Journal of Emerging Issues in Early Childhood Education 3, no. 1 (May 30, 2021): 59–69. http://dx.doi.org/10.31098/ijeiece.v3i1.539.
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This paper presents an analysis of Isolde Amante’s Eve, a 21st century Philippine fiction to reveal a contemporary worldview of motherhood. Despite the success of feminist movements in society, motherhood remains fraught with romantic ideals that stem from the essentialist notions of gender and sex. This results in ‘othering’--oppressing and alienating women in the 21st century. The paper argued that the entire notion of motherhood has entered a postmodern framing—one that challenges traditional notions of motherhood and mothering. To characterize this worldview, the paper used the theories of cognitive stylistics, such as conceptual metaphor theory, to describe the mind style of the text’s focalizer, the narrator in Eve. This theory granted access to the intricate mental processes which helped explain why a character behaves a certain why, what dispositions s/he hold in life, as well as what motivations form his/her thoughts, language and action. Further, the mind style is drawn from the communicative force that make up the ‘maternal discourse’ in the text, using Searle’s Speech Act theory. The result is an unorthodox but liberating view of motherhood and mothering. The study argues the need to mainstream mind style analysis in 21st century fiction literary analysis to discover evolving and liberating ideals related to the constructions of gender, and in particular, motherhood.
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Hanoosh. "In Search of the Iraqi Other: Iraqi Fiction in Diaspora and the Discursive Reenactment of Ethno-Religious Identities." Humanities 8, no. 4 (October 6, 2019): 157. http://dx.doi.org/10.3390/h8040157.
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In Iraqi fiction, the prerogative to narrate the experience of marginal identities, particularly ethno-religious ones, appeared only in the post-occupation era. Traditionally, secular Iraqi discourse struggled to openly address “sectarianism” due to the prevalent notion that sectarian identities are mutually exclusive and oppositional to national identity. It is distinctly in post-2003 Iraq—more precisely, since the sectarian violence of 2006–2007 began to cut across class, civil society, and urban identities—that works which consciously refuse to depict normative Iraqi identities with their mainstream formulations became noticeable. We witness this development first in the Western diaspora, where Iraqi novels exhibit a fascination with the ethno-religious culture of the Iraqi margins or subalterns and impart a message of pluralistic secularism. This paper investigates the origins of the taboo that proscribed articulations of ethno-religious subjectivities in 20th-century Iraqi fiction, and then culls examples of recent diasporic Iraqi novels in which these subjectivities are encoded and amplified in distinct ways. In the diasporic novel, I argue, modern Iraqi intellectuals attain the conceptual and political distance necessary for contending retrospectively with their formative socialization experiences in Iraq. Through a new medium of marginalization—the diasporic experience of the authors themselves—they are equipped with a newfound desire to unmask subcultures in Iraq and to write more effectively about marginal aspects of Iraqi identity inside and outside the country. These new diasporic writings showcase processes of ethnic and religious socialization in the Iraqi public sphere. The result is the deconstruction of mainstream Iraqi identity narratives and the instrumentalization of marginal identities in a nonviolent struggle against sectarian violence.
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Abdullah, Muhammad. "Love, matrimony and sexuality: Saudi sensibilities and Muslim women's fiction." Pakistan Journal of Women's Studies: Alam-e-Niswan 26, no. 2 (December 19, 2019): 19–30. http://dx.doi.org/10.46521/pjws.026.02.0005.
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All those desires, discriminations, success stories, and confrontations that otherwise might not have seeped into mainstream discourses are subtly said through the stories that mirror Arab women‟s lives. Girls of Riyadh is a postmodern cyber-fiction that delineates subjects we usually do not get to hear much about, i.e. the quest of heterosexual love and matrimony of young Arab women from the less women-friendly geography of Saudi Arabia. Though in the last two decades the scholarship on alternative discourses produced by Muslim women have been multitudinous, there is a scarcity of critical investigations dealing with creative constructions of postfeminist, empowered Muslim woman, not battling with patriarchal power structures, but negotiating aspects that matter most in real life: human associations and familial formations. This paper engages with the categories of love, marriage, and sexuality, drawing upon the lives of four educated, successful, „velvet class‟ Saudi women. The significance of this study is linked with carefully challenging some of the stereotypes about Arab women as victims of forced marriages and their commonly perceived discomfort with love at large. The study reveals that it is men who need to “man up” against cultural conventions since women are increasingly expressive in their choices and brave enough to face the consequences audaciously.
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Abdullah, Muhammad. "Love, matrimony and sexuality: Saudi sensibilities and Muslim women's fiction." Pakistan Journal of Women's Studies: Alam-e-Niswan 26, no. 2 (December 19, 2019): 19–30. http://dx.doi.org/10.46521/pjws.026.02.005.
Full textAbstract:
All those desires, discriminations, success stories, and confrontations that otherwise might not have seeped into mainstream discourses are subtly said through the stories that mirror Arab women‟s lives. Girls of Riyadh is a postmodern cyber-fiction that delineates subjects we usually do not get to hear much about, i.e. the quest of heterosexual love and matrimony of young Arab women from the less women-friendly geography of Saudi Arabia. Though in the last two decades the scholarship on alternative discourses produced by Muslim women have been multitudinous, there is a scarcity of critical investigations dealing with creative constructions of postfeminist, empowered Muslim woman, not battling with patriarchal power structures, but negotiating aspects that matter most in real life: human associations and familial formations. This paper engages with the categories of love, marriage, and sexuality, drawing upon the lives of four educated, successful, „velvet class‟ Saudi women. The significance of this study is linked with carefully challenging some of the stereotypes about Arab women as victims of forced marriages and their commonly perceived discomfort with love at large. The study reveals that it is men who need to “man up” against cultural conventions since women are increasingly expressive in their choices and brave enough to face the consequences audaciously.
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Basista, Jakub. "Early Modern Grand Tourer in Poland-Lithuania." Studia Historyczne 61, no. 4 (244) (June 1, 2021): 5–16. http://dx.doi.org/10.12797/sh.61.2018.04.01.
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Early Modern Grand Tourer in Poland-Lithuania. Fiction or Real Possibility?
In the last fifty or so years, Grand Tour has become a very popular and extensively researched phenomenon. Although mainstream researchers have analyzed various aspects of the Grand Tour, they have tended to adopt a narrow definition limited to the experiences of young English gentlemen undertaking a study tour of Italy and France. This article poses a somewhat provocative question: was the Grand Tour feasible as a study tour of an English gentleman visiting Poland- Lithuania? Based on contemporary travel writing, the author reveals the challenges and the difficult logistics of such an undertaking.
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King, Barnaby. "Landscapes of Fact and Fiction: Asian Theatre Arts in Britain." New Theatre Quarterly 16, no. 1 (February 2000): 26–33. http://dx.doi.org/10.1017/s0266464x00013439.
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In the first of two essays which use academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, Barnaby King analyzes the relationship between Black arts and mainstream arts on both a professional and community level, focusing on particular examples of practice in the Leeds and Kirklees region in which he lives and works. This first essay looks specifically at the Asian situation, reviewing the history of Arts Council policy on ethnic minority arts, and analyzing how this has shaped – and is reflected in – current practice. In the context of professional theatre, he uses the examples of the Tara and Tamasha companies, then explores the work of CHOL Theatre in Huddersfield as exemplifying multi-cultural work in the community. He also looks at the provision made by Yorkshire and Humberside Arts for the cultural needs of their Asian populations. In the second essay, to appear in NTQ62, he will be taking a similar approach towards African-Caribbean theatre in Britain. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in theatre and drama-based activities.
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Nicklas, Charlotte. "‘It is the Hat that Matters the Most’: Hats, Propriety and Fashion in British Fiction, 1890–1930." Costume 51, no. 1 (March 2017): 78–102. http://dx.doi.org/10.3366/cost.2017.0006.
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Essential to both propriety and fashion, hats were a crucial aspect of British female dress and appearance in the late nineteenth and early twentieth centuries. This article shows how British novelists of this period, ranging from mainstream to experimental, understood this importance. With appropriate contextualization, these literary depictions can illuminate how women wore and felt about their hats. Authors such as Frances Hodgson Burnett, Dorothy Whipple and Virginia Woolf used these accessories to explore social respectability and convention, the pleasures and challenges of following fashion, and consumption strategies among women. Despite the era's significant social changes, remarkable continuity exists in these literary representations of hats.
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Magerstädt, Sylvie. "Love Thy Extra-Terrestrial Neighbour: Charity and Compassion in Luc Besson’s Space Operas The Fifth Element (1997) and Valerian and the City of a Thousand Planets (2017)." Religions 9, no. 10 (September 27, 2018): 292. http://dx.doi.org/10.3390/rel9100292.
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The role of romantic love in cinema–and its redeeming aspects–has been extensively explored in film studies and beyond. However, non-romantic aspects of love, especially love for the neighbour, have not yet received as much attention. This is particularly true when looking at mainstream science fiction cinema. This is surprising as the interstellar outlook of many of these films and consequently the interaction with a whole range of new ‘neighbours’ raises an entirely new set of challenges. In this article, the author explores these issues with regard to Luc Besson’s science fiction spectacles The Fifth Element (1997) and Valerian and the City of a Thousand Planets (2017). Both films have divided fans and critics and it is indeed easy to dismiss them as mere spectacle with little depth or message, as many reviewers have done. Yet, as this article demonstrates, beneath their shiny, colourful surface, both films make a distinct contribution to the theme of neighbourly love. What is more, Besson’s films often seem to develop a close link between more common notions of romantic love and agapic forms of love and thus offer a perspective of exploring our relationship to the alien as our neighbour.
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Kennedy, Victoria. "“Chick Noir”: Shopaholic Meets Double Indemnity." American, British and Canadian Studies Journal 28, no. 1 (June 27, 2017): 19–38. http://dx.doi.org/10.1515/abcsj-2017-0002.
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Abstract In early 2014, several articles appeared proclaiming the rise to prominence of a new subgenre of the crime novel: “chick noir,” which included popular books like Gone Girl, The Silent Wife, and Before We Met. However, there was also resistance to the new genre label from critics who viewed it as belittling to women’s writing and to female-focused narratives. Indeed, the separation of female-centred books - whether “chick lit” or “chick noir” - from mainstream fiction remains highly problematic and reflects the persistence of a gendered literary hierarchy. However, as this paper suggests, the label “chick noir” also reflects the fact that in these novels the crime thriller has been revitalized through cross-pollination with the so-called chick lit novel. I contend that chick lit and chick noir are two narrative forms addressing many of the same concerns relating to the modern woman, offering two different responses: humour and horror. Comparing the features of chick noir to those of chick lit and noir crime fiction, I suggest that chick noir may be read as a manifestation of feminist anger and anxiety - responses to the contemporary pressure to be “wonder women.”
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Knight, Eric, and Haridimos Tsoukas. "When Fiction Trumps Truth: What ‘post-truth’ and ‘alternative facts’ mean for management studies." Organization Studies 40, no. 2 (November 16, 2018): 183–97. http://dx.doi.org/10.1177/0170840618814557.
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In this essay, we explore the notions of ‘post-truth’ and ‘alternative facts’ for management studies. Adopting a pragmatist perspective, we argue that there is no intrinsically accurate language in terms of which to refer to reality. Language, rather, is a tool that enables agents to grab hold of causal forces and intervene in the world. ‘Alternative facts’ can be created by multimodal communication to highlight different aspects of the world for the purpose of political mobilization and legitimacy. ‘Post-truth’ politics reveals the fragmentation of the language game in which mainstream politics has been hitherto conducted. Using the communicative acts of businessman-turned-politician President Trump and his aides, as a prompt, we explore the implications that ‘alternative facts’ and ‘post-truth’ have for today’s management scholarship. We argue that management scholars should unpack how managers navigate strategic action and communication, and how the creation of alternative realities is accomplished in conditions of informational abundance and multimodal communication.
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Berry, Chris. "No Father-and-Son Reunion: Chinese Sci-Fi in The Wandering Earth and Nova." Film Quarterly 74, no. 1 (2020): 40–44. http://dx.doi.org/10.1525/fq.2020.74.1.40.
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Chinese films in “the Chinese century” are more expansively confident than ever. A new vogue for science fiction, a genre that has taken off in China alongside the country's stratospheric growth, suggests that China is ready to take up the baton of galactic discovery adventure. Chris Berry examines the father-son narratives in The Wandering Earth (Frant Gwo, 2019) and Nova (Cao Fei, 2019), two recent films that link Chinese patriarchy to the triumph and trials of modern science and progress. The Wandering Earth reaffirms those dominant models in action adventure mode, while Nova's melancholic wanderings are ambivalent and even mournful. Nova reveals a more complex and varied Chinese imagination regarding the challenges presented by the twenty-first century than a mainstream production like The Wandering Earth.
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KING, JEANNETTE. "Fiction as a gerontological resource: Norah Hoult's There Were No Windows." Ageing and Society 29, no. 2 (January 8, 2009): 295–308. http://dx.doi.org/10.1017/s0144686x08007654.
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ABSTRACTThis paper starts from the premise that novelists have to some extent filled the gap left by mainstream feminism's relative silence about gendered ageing. To develop the argument, it explores the representation of memory loss and its impact on identity and self-image in Norah Hoult's novel, There Were No Windows, which was first published in 1944. The novel is set in London during the Second World War, when the traumas of a city experiencing the Blitz and the blackout reflected the terror and inner darkness experienced by the principal character, Claire Temple, herself a minor novelist, under the onslaught of dementia. There Were No Windows constructs the character of Claire through the combination of her own often-disordered thoughts and the perspectives of those who live with or visit her. This paper focuses throughout on ageing as a gendered experience and the construction of the older woman. It identifies the different gendered discourses of ageing that are imposed on Claire in order to construct her as the female ‘Other’, in the sense theorised by Simone de Beauvoir. It also relates the novel to contemporaneous medical and sociological discourses of ageing and old age. Hoult's implicitly feminist reading of Claire's condition brings the issue of gender to the foreground of the novel's treatment of old age. Through my reading of There Were No Windows, I suggest what it is that fictions of ageing can offer those working in the field of gerontology.
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Ibarrola-Armendariz, Aitor. "The Effective and the Controversial Uses of Code-Switching: Edwidge Danticat’s 'Claire of the Sea Light' as Case Study." Complutense Journal of English Studies 28 (November 24, 2020): 23–31. http://dx.doi.org/10.5209/cjes.61429.
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This article explores the different uses that Haitian-American author Edwidge Danticat makes of code-switching in her last novel Claire of the Sea Light (2013). It also delves into the effects Danticat seeks to produce on her readers by the introduction of Creole words and expressions. While the incorporation of the mother tongue is not new in Danticat’s fiction, critics have paid little attention to the diverse purposes such a tongue purports to serve in her books and to the kind of responses it has aroused from her audience. Her uses of code-switching are observed to pursue various purposes: some purely mimetic, others more closely related to her stylistic ambitions, and still others out of motivations that may be deemed debatable, as they pertain to the “exoticization” of her homeland. Ultimately, the use of code-switching in Claire of the Sea Light should be viewed as one of the most effective strategies that diasporic writers envisage to satisfy a number of important socio-pragmatic and rhetorical functions that are usually expected in ethnic fiction. These strategies also aim to guide the (mainstream) readers’ affective responses to their work in the way(s) “minority” authors believe best suit their aesthetic and ethical goals.