Journal articles on the topic 'Paradise, fiction'
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Miano and Chilcoat. "The Open Door of Paradise • Fiction." Transition, no. 110 (2013): 91. http://dx.doi.org/10.2979/transition.110.91.
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Olenich, Olga Pavlinova. "Momentary Paradise." After Dinner Conversation 4, no. 2 (2023): 50–56. http://dx.doi.org/10.5840/adc20234216.
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What is the essence of heaven? If you had to pick a single moment in your life to spend eternity in as your personal heaven, would you do it, and what moment would you pick? In this philosophical short story fiction, the narrator, in a semi-dream state, watches a bit of a late-night movie where the main character dies, goes to heaven, and must work with the bureaucrats of heaven to pick the moment in their lives they would like to live in forever as their personal heaven. This idea germinates in the narrator’s mind and she is forced to weight various moments in her life in an attempt to pick what her perfect heavenly moment would be.
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Agar, James N. "Self-mourning in Paradise: Writing (about) AIDS through Death-bed Delirium." Paragraph 30, no. 1 (March 2007): 67–84. http://dx.doi.org/10.3366/prg.2007.0009.
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This article discusses the representation of AIDS in Guibert's posthumously published novel Le Paradis (Paradise). The novel is situated in relation to Guibert's better known previous AIDS writings. The article proposes that Guibert's AIDS works fall in to three related categories: writings about other peoples' AIDS; autobiographical writings about AIDS, and, in the third, terminal stage in which Le Paradis fits, writing (about) AIDS. As such the article suggests that Le Paradis manages to reflect and communicate some of the trauma of living with AIDS by specifically trying not to write about it. The article raises issues related to constructions of sexualized and AIDS identities in fiction, and presents the novel as a form which represents a loss of self. The novel, it is argued, becomes a self-mourning for a healthy past which is memorialized in a fictional present, itself always-already haunted by the nostalgia for a lost future.
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Rickard, Matt. "The Probability of Paradise Lost." ELH 91, no. 2 (June 2024): 345–75. http://dx.doi.org/10.1353/elh.2024.a929152.
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Abstract: For much of the sixteenth and seventeenth centuries, probability had been a quality of the propositions, sentences, and arguments extracted from a larger work for the purpose of example and instruction. But in the late seventeenth century, the concept grew into a criterion for the judgment of works in their entirety. The scenes of argument in Paradise Lost (1667) turned humanist convention against itself, and in so doing, helped usher probability into "the principal rule" of literary criticism: that fiction—irreducible to any of its parts, autonomous from the demands of teaching—should represent typical or generic patterns of human action.
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Council, Norman. "“ANSWERING HIS GREAT IDEA”: THE FICTION OF “PARADISE LOST”." Milton Studies 32 (January 1, 1995): 45–62. http://dx.doi.org/10.2307/26395598.
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Rutgers, Mark R. "The Borg Administration: Science Fiction." Public Voices 6, no. 1 (January 27, 2017): 35. http://dx.doi.org/10.22140/pv.333.
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This article explores the potential of science fiction as a "thought experiment in public administration." Science fiction may explore existing ideas and practices in ways not possible otherwise. Thus, it is possible to contemplate on the functioning of entirely authoritarian regimes, as well as, utterly egalitarian and paradise like culturesm and work our their administrative needs and solutions This "radical approach" to administration can aid our understanding. In this sense novels such as Orwell's 1984 do have a message that influences our ideas and opinions about public administration.
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Morace, Robert A. "From Parallels to Paradise: The Lyrical Structure of Cheever's Fiction." Twentieth Century Literature 35, no. 4 (1989): 502. http://dx.doi.org/10.2307/441899.
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Santos, Tomas N., and Gilbert H. Muller. "New Strangers in Paradise: The Immigrant Experience and Contemporary American Fiction." Rocky Mountain Review of Language and Literature 55, no. 2 (2001): 118. http://dx.doi.org/10.2307/1348274.
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Dong, Lorraine. "New Strangers in Paradise: The Immigrant Experience and Contemporary American Fiction." Journal of American Ethnic History 21, no. 2 (January 1, 2002): 99–101. http://dx.doi.org/10.2307/27502819.
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Frank, Susi K. "Arctic Science and Fiction." Journal of Northern Studies 4, no. 1 (July 1, 2010): 67–86. http://dx.doi.org/10.36368/jns.v4i1.630.
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The article analyses the popular novel Sannikov’s land (published in 1926) by the famous Russian and Soviet geologist Vladimir A. Obruchev (1863–1956) and asks how scientific discourse on the one hand and literary, fictional discourse on the other interact in this text that tells the story of the discovery of an Arctic island that a Russian merchant had asserted to have seen, but the existence of which never could be affirmed. Basing his novel exclusively on wellfounded scientific (geological as well as anthropological) hypotheses, Obruchev polemizes with a whole range of pretexts from J. Verne to K. Hloucha. Unfolding the story of the Russian expedition, Obruchev pursues the aim (1) to deconstruct the utopian myth of a paradise on earth beyond the Arctic ice in its countless varieties; (2) to show that ancient myths—like the myth of the existence of warm islands in the Arctic—are a form of protoscientific insight that should be taken seriously by modern science and transformed into scientific knowledge; and (3) to suggest that the Arctic islands—really existing, supposed to exist or be doomed—from a geological point of view belong to the Siberian mainland and therefore to Russian/Soviet territory.
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Zakula, Sonja, and Uros Matic. "The motif of the “lost paradise” in blockbuster films set in the post-apocalypse." Bulletin de l'Institut etnographique 71, no. 3 (2023): 117–36. http://dx.doi.org/10.2298/gei2303115z.
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Considering that mythology and storytelling are an integral part of the human experience, in this paper we will take a look at contemporary iterations of certain archetypal myths. While the authors do not espouse the idea that ?science fiction is the mythology of modern society?, we believe that there is something to be said about popular culture as a medium of narrative transmission in post-industrialist society. In this sense, the paper analyses the utilization of origin myths in post-apocalyptic science fiction movies: Waterworld (1995), The Matrix franchise (four installments 1999-2021), Wall-E (2008), the Mad Max franchise (four installments 1979-2015), among others. Common to all of these narratives is that they are set after a global catastrophe that frames the ?Earth before? as a paradise that was lost due to human agency. Some of these narratives also feature a search for the remnants of that lost world (most notably Waterworld and Mad Max: Fury Road), as well as ?lesser? origin myths that pertain to groups of survivors themselves (e.g. Mad Max: Beyond Thunderdome). In the context of current debates on the Anthropocene, an era rapidly leading towards a global catastrophe, and following Donna Haraway?s work on storytelling, we believe that the act of telling these stories, and the ways in which they are told is of vital importance if we, as a species, are to survive. Furthermore, post-apocalyptic science fiction offers not only a warning but also possible outcomes exemplified through new, emerging and different naturecultures. These naturecultures range from the emergence of new and better adept bodies of a minority (which triggers stigma), to bodies which are increasingly dependent on other actants, e.g., AI. We argue that within the genre of science fiction these novel postapocalyptic naturecultures are framed as imperfect, and that such framing strengthens the myth of Earth before the apocalypse as a lost paradise. Consequently, posthumanist bodies are seen in a Biblical manner as bodies ?after the Fall?, rather than as bodies which have not only the potential to survive but also to prevent the catastrophe.
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Pastourmatzi, Domna. "Researching and Teaching Science Fiction in Greece." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 530–34. http://dx.doi.org/10.1632/003081204x20613.
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In the dreams our stuff is made of, Thomas M. Disch talks about the influence and pervasiveness of science Fiction in American culture and asserts the genre's power in “such diverse realms as industrial design and marketing, military strategy, sexual mores, foreign policy, and practical epistemology” (11-12). A few years earlier, Sharona Ben-Tov described science fiction as “a peculiarly American dream”—that is, “a dream upon which, as a nation, we act” (2). Recently, Kim Stanley Robinson has claimed that “rapid technological development on all fronts combined to turn our entire social reality into one giant science fiction novel, which we are all writing together in the great collaboration called history” (1-2). While such diagnostic statements may ring true to American ears, they cannot be taken at face value in the context of Hellenic culture. Despite the unprecedented speed with which the Greeks absorb and consume both the latest technologies (like satellite TV, video, CD and DVD players, electronic games, mobile and cordless phones, PCs, and the Internet) and Hollywood's science fiction blockbuster films, neither technology per se nor science fiction has yet saturated the Greek mind-set to a degree that makes daily life a science-fictional reality. Greek politicians do not consult science fiction writers for military strategy and foreign policy decisions or depend on imaginary scenarios to shape their country's future. Contemporary Hellenic culture does not acquire its national pride from mechanical devices or space conquest. Contrary to the American popular belief that technology is the driving force of history, “a virtually autonomous agent of change” (Marx and Smith xi), the Greek view is that a complex interplay of political, economic, cultural, and technoscientific agencies alters the circumstances of daily life. No hostages to technological determinism, modern Greeks increasingly interface with high-tech inventions, but without locating earthly paradise in their geographic territory and without writing their history or shaping their social reality as “one giant science fiction novel.”
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Wren, Keith. "Halfway to Paradise: Failed Utopia in the Early Fiction of George Sand." Australian Journal of French Studies 33, no. 1 (January 1996): 73–85. http://dx.doi.org/10.3828/ajfs.33.1.73.
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Song, Eric B. "Frankenstein, Paradise Lost, and the Fiction of Translation." Modern Philology 119, no. 4 (May 1, 2022): 513–34. http://dx.doi.org/10.1086/719167.
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Shields, Tanya L. "Hell and grace: Palimpsestic belonging in The True History of Paradise and Crossing the Mangrove." Cultural Dynamics 30, no. 1-2 (February 2018): 76–95. http://dx.doi.org/10.1177/0921374017752053.
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The Caribbean has been characterized as paradise, yet the region’s story is a more complicated one. A means of accessing stories that move beyond the tourist brochure representations is to engage with regional fiction. This essay employs the idea of palimpsestic belonging, which highlights the layers of each generation’s negotiation with colonial legacies, as a tool to explore familial and community attachment in the novels The True History of Paradise (1999) and Crossing the Mangrove (1995). Burial rituals and haunting are mechanisms to engage with the multiple disruptions of an imaginary and unified postcolonial nation. By highlighting the collisions of history, gender, sexuality, and class, these novels navigate national (un)belonging in two distinct Caribbean spaces—Jamaica and Guadeloupe.
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Vasicek, Joe. "In The Beginning." After Dinner Conversation 3, no. 7 (2022): 76–89. http://dx.doi.org/10.5840/adc20223767.
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Would you rather live in complete happiness, or have knowledge of good and evil? In this allegorical work of philosophical short fiction, Adam lives in a biblical paradise. One day, a strange man in the garden, wearing a snake necklace, offers him a fruit from the tree of knowledge. He declines, saying “Father” has forbid him from eating it. Later, Eve comes to the garden as well. She is offered the same fruit and accepts. After eating the fruit she realizes she is in a stasis chamber on a space voyage that has gone wrong. She heads back into the computer-generated paradise to try and get Adam, the only other remaining member of the crew, out of stasis, by convincing him to eat the same apple she did.
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Pérez Rodríguez, Eva. "The Unlikely Heroine beyond Family Trauma: Four Women’s Fictions of the Second World War in Greece." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 31 (December 16, 2022): 97–120. http://dx.doi.org/10.35869/afial.v0i31.4299.
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My analysis of Victoria Hislop’s The Island (2005), Leah Fleming’s The Girl under the Olive Tree (2013), Sofka Zinovieff’s The House on Paradise Street (2012), and Brenda Reid’s The House of Dust and Dreams (2010) examines their treatment of the exotic setting of Greece in the specific historical context of World War II, while following the conventions of popular romance or popular women’s fiction. As a consequence of the conflict, the traditional family structure is compromised. This is particularly evident in the case of the female protagonists, heroines who refuse to fall within the traditional happyever-after ending and opt for a fulfilling career, a longfelt vocation, singlehood or simply unusual friendships of their choice. As a result, even in novels categorized as “romances”, the presence of a hero or lover is questioned and redefined. My analysis starts with Victoria Hislop’s The Island, a historical narrative of the leper colony at Spinalonga, around the time of the Second World War. For comparative purposes regarding the treatment of popular fiction elements, Brenda Reid’s The House of Dust and Dreams and Leah Fleming’s The Girl under the Olive Tree are discussed as being more generically romantic. Finally, Sofka Zinovieff’s The House on Paradise Street offers an example of a cohesive, compact combination of political confrontation and popular romance, while at the same time England appears as the counterpoint to the exoticism of Greece.
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Ahmad, Mumtaz, Asim Aqeel, and Sahar Javaid. "Re-Inscription of Black History/Body in Morrison's Beloved and Paradise." Global Regional Review V, no. IV (December 30, 2020): 128–34. http://dx.doi.org/10.31703/grr.2020(v-iv).13.
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This article contends how Toni Morrison has used her black fiction to reject the dominant conceptions of reality and truth constructed by the white pahllogocentric discourses that tended to perpetuate white power interests. The poststructuralist assumption that knowledge and reality are socially constructed phenomenon provides useful insight into Morrison's narrative strategies and helps understand how, on one hand, she represents the ways the history of the black Africans had been badly disfigured in the white discourse resulting in the construction of the negative stereotypes of the black people as barbarians, savages, and uncivilized people whose mythical history and social values were invalidated as inauthentic and savage that needed the enlightening intervention of the white Europeans and, on the other hand, apart from revealing the discursive facts that control reality formation, she disrupts and displaces dominant and oppressive white knowledges.
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Duncan, Christopher M. "Community and the American Village on Paradise Drive." Public Voices 9, no. 2 (January 5, 2017): 83. http://dx.doi.org/10.22140/pv.218.
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The author argues that at the root of American culture is an apparent, though illusory, paradox of a people who are at one and the same time thoroughly individualistic and voraciously communal. This paradox is not only part of the American cultural fabric, it is built directly and purposefully into the U.S. constitutional system itself. By using their individual choice to choose various forms of community, Americans were able to sustain and reproduce the social capital necessary to remain the functional community of communities the constitutional scheme depended upon and prevent the slide into egoism and narcissism that would result in their own personal alienation. In this way, what was once thought to require virtue, discipline and obedience could seemingly beproduced by self-interested individualism, the pursuit of happiness and the willingness to respect the rules (read rights of others) of the larger political game.The author explores this idea on two recent “texts” that capture in very general ways a dominant trend in the relationship between community and culture in the contemporary United States. The first text is the recent film by the current master of suspense in American movies M. Night Shymalan The Village (2004). The second is the recent work of non-fiction by the conservative political journalist and regular news commentator David Brooks titled On Paradise Drive: How We Live Now (And Always Have) in the Future Tense (2004).
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Zeng, Hong. "Practical Gods: Carl Dennis’s Secularized Religious Visions." Religions 14, no. 6 (June 6, 2023): 752. http://dx.doi.org/10.3390/rel14060752.
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This paper examines Carl Dennis’s secularized religious visions in his Pulitzer-winning poetry collection, Practical Gods (2001). Dennis’s secularized religious visions can be quite understandable in the context of the ascending trends of secularization, diversification, and globalization of religion in America, and they demonstrate affinities with literary predecessors such as Wallace Stevens, with his aestheticized religion under the influence of Nietzsche, as well as with the innovative religious thinking of William Blake, Kazantzakis, and Oscar Wilde, and with certain aspects of Taoism and Zen Buddhism. This paper addresses Dennis’s perception of theological controversies, such as the contradiction between the omnipotence of God and the existence of evil, theological determinism vs. human free will, theological view of history vs. New Historicism, divinity in man, aestheticized religion, and earthly paradise through the focused lens of Dennis’s “practical religion”. Despite the breadth of the theses in Dennis’s conceived practical religion as examined in this paper, they are all tied up with the core of the phenomenological study of religion: that religion is important to believers of the religion irrespective of the objective truth of the religion or the actual existence of God. In Dennis’s views, as accorded with the phenomenological study of religions, God maybe an idea and a fiction, but it is a necessary fiction for humans. Thus, Dennis humanizes gods with the flaws and fragility of humanity while deifying ordinary humanity in the contemporary context. Contrasting what he views as theological determinism with its view of linear history and the apocalypse of grand events, Dennis embraces human free will, a non-teleological, aestheticized living with necessary fiction, and a transient paradise on earth. Carl Dennis’s religious vision reveals a poststructuralist (even though he did not brand himself so) abolition of the absoluteness of a transcendent signifier as well as binary opposition (between God and man, good and evil, religious/historical truth and fictionality), and it manifests an affinity with New Historicism and the phenomenological study of religion.
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Dew, Spencer. "In Paradise. Fiction. By Peter Matthiessen. New York: Riverhead Books, 2014. Pp. 256. Hardcover, $27.95." Religious Studies Review 40, no. 4 (December 2014): 216. http://dx.doi.org/10.1111/rsr.12174.
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Biles, Jeremy. "Paradise Rot: A Novel. Fiction. By Jenny Hval. Translated by Marjam Idriss. London: Verso, 2018." Religious Studies Review 45, no. 1 (March 2019): 58. http://dx.doi.org/10.1111/rsr.13813.
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Boccardi, Mariadele. "The Naturalist in the Garden of Eden: Science and Colonial Landscape in Jem Poster'sRifling Paradise." Victoriographies 6, no. 2 (July 2016): 112–30. http://dx.doi.org/10.3366/vic.2016.0227.
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This essay seeks to supplement an established critical tradition that reads natural history in neo-Victorian fiction from a postmodern and largely de-politicised perspective. I argue that the figure of the naturalist can be used to revisit natural history's complicity with imperial expansion, both in its practice and in its discursive framework. By means of a close reading of Jem Poster's Rifling Paradise (2006), I explore the ways in which natural history gives way to an ecological approach to the colonial landscape, pointing to a possible – though still problematic – alternative to a scientific (exploitative, colonial) understanding of the relationship between nature and human beings.
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Shiyuan, Zhang. "Narrative Point of View and Romantic Irony in Melville’s “The Paradise of Bachelors and the Tartarus of Maids”." International Journal of Linguistics, Literature and Translation 6, no. 12 (December 16, 2023): 173–79. http://dx.doi.org/10.32996/ijllt.2023.6.12.20.
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The short fiction “The Paradise of Bachelors and the Tartarus of Maids” is written in first-person narration as a diptych in which Melville ponders the human spiritual crisis in the industrialized world. This article explores the contradiction of the narrator’s spiritual liberation and others’ exclusion employing the narrator’s shifting experiencing and retrospective viewpoints, with the engagement of Romantic Irony. Through the dual viewpoints, the subjectivity and uncertainty of the first-person Romantic ironist manifest the uncertainty of the human spiritual crisis in industrialization. Melville questions human spirits and technology to elevate his ambiguous narration and philosophical concerns.
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Zhang, Shiyuan. "Narrative Point of View and Romantic Irony in Melville’s “The Paradise of Bachelors and the Tartarus of Maids”." International Journal of Linguistics, Literature and Translation 6, no. 12 (December 8, 2023): 78–84. http://dx.doi.org/10.32996/ijllt.2023.6.12.11.
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The short fiction “The Paradise of Bachelors and the Tartarus of Maids” is written in first-person narration as a diptych in which Melville ponders the human spiritual crisis in the industrialized world. This article explores the contradiction of the narrator’s spiritual liberation and others’ exclusion employing the narrator’s shifting experiencing and retrospective viewpoints, with the engagement of Romantic Irony. Through the dual viewpoints, the subjectivity and uncertainty of the first-person Romantic ironist manifest the uncertainty of the human spiritual crisis in industrialization. Melville questions human spirits and technology to elevate his ambiguous narration and philosophical concerns.
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Manney, PJ. "Yucky gets yummy: how speculative fiction creates society." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 16, no. 2 (October 9, 2019): 243–54. http://dx.doi.org/10.5209/tekn.64857.
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Human biology creates empathy through storytelling and emulation. Throughout history, humans have honed their capacity to understand optimum storytelling and relate to others in new ways. The bioethical concepts of Leon Kass’s Wisdom of Repugnance and Arthur Caplan’s Yuck Factor attempt to describe, and in Kass’s case even support, society’s abhorrence of that which is strange, against God or nature, or simply the “other.” However, speculative fiction has been assessing the “other” for as long as we’ve told speculative stories. The last thousand years of social liberalization and technological progress in Western civilization can be linked to these stories through feedback loops of storytelling, technological inspiration and acceptance, and social change by growing the audience’s empathy for these speculative characters. Selecting highlights of speculative fiction as far back as the Bible and as recently as the latest movie blockbusters, society has grappled back and forth on whether monsters, superhumans, aliens, and the “other” are considered villainous, frightening and yucky, or heroic, aspirational and yummy. The larger historical arc of speculative fiction, technological acceptance and history demonstrates the clear shift from yucky to yummy. Works include The Bible, Talmud, stories of alchemists and the Brazen Head, Paradise Lost, Frankenstein, Dr. Jekyll and Mr. Hyde, The Wonderful Wizard of Oz, gothic horror films of Germany and the U.S., Superman and the Golden Age of comics, and recent blockbusters, among others.
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Palmer, Kelly. "The beach as (hu)man limit in Gold Coast narrative fiction." Queensland Review 25, no. 1 (June 2018): 149–62. http://dx.doi.org/10.1017/qre.2018.13.
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AbstractGold Coast beaches oscillate in the cultural imagination between everyday reality and a tourist's paradise of ‘sun, surf and sex’ (Winchester and Everett 2000: 59). While these narratives of selfhood and becoming, egalitarianism and sexual liberation punctuate the media, Gold Coast literary fictions instead reveal the beach as a site of danger, wholly personifying the unknown. Within Amy Barker's Omega Park, Melissa Lucashenko's Steam Pigs, Georgia Savage's The House Tibet and Matthew Condon's Usher and A Night at the Pink Poodle, the beach is a ‘masculine’ space for testing the limit of the coastline and one's own capacity for survival. This article undertakes a close textual analysis of these novels and surveys other Gold Coast fictions alongside spatial analysis of the Gold Coast coastline. These fictions suggest that the Gold Coast is not simply a holiday world or ‘Crime Capital’ in the cultural imagination, but a mythic space with violent memories, opening out onto an infinite horizon of conflict and estrangement.
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Lojacono, Florence. "A “Postmodern” Novel of the 1920s: Vasco de Marc Chadourne." Thélème. Revista Complutense de Estudios Franceses 35, no. 2 (October 22, 2020): 229–37. http://dx.doi.org/10.5209/thel.70083.
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Marc Chadourne (1995-1975), almost forgotten today, has published a hugely successful novel in 1927, Vasco. Under the guise of presenting a concentrate of the emblematic themes of the literature of the 1920s such as anxiety, exoticism and holiness, Vasco is above all a postmodern novel ahead of time. Indeed, the questions staged in this island fiction deconstruct the very possibility of adventure and highlight the aporia of "why live for?" Starting from the context of Vasco's publication and its critical reception, we will see why, even in the very heart of the paradise island, the protagonist fails in escaping his demons.
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Sensibar, Judith L. "Writing for Faulkner, Writing for Herself: Estelle Oldham's Anticolonial Fiction." Prospects 22 (October 1997): 357–78. http://dx.doi.org/10.1017/s0361233300000168.
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Before estelle oldham married William Faulkner in June 1929, she had spent nearly eight years in the Pacific and Far East as a participant-observer in two American colonial cultures. In June 1918, her first marriage to the Mississippi lawyer and entrepreneur Cornell S. Franklin brought her as a new bride to what were then called the Hawaiian Territories. But despite his excellent Southern connections, the business community in the “Paradise of the East” had little room for a bright yet arrogant young man with no capital. Thus, in December 1921, Estelle Oldham Franklin, her husband, and their four-year-old daughter sailed for the more open markets in the International Settlement of Shanghai, then China's largest treaty port. Oldham hated Shanghai; she refused to continue playing the role of Southern Belle hostess she had assumed so willingly and graciously in Honolulu, and, like her husband and many other colonials, she had become an alcoholic. Summarizing her life in Shanghai, she once told her daughter, “I don't think I took a sober breath for three years.”
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Huang, Rong, and Xiaotian Jin. "Reproducing and Resisting Sexual Violence: Narrative, Genre, and Power Structure in Fang Siqi's First Love Paradise." Biography 45, no. 4 (2022): 439–54. http://dx.doi.org/10.1353/bio.2022.a910379.
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Abstract: In her semi-autobiographical novel Fang Siqi's First Love Paradise , Lin Yihan weaves her own traumatic experience of being sexually abused into a powerful narrative that sheds light on the pervasive acquiescence to violence against women in patriarchal cultures. Focusing on the sociocultural factors behind sexual violence, this article examines certain forms of narrative and literary genre, as revealed in the novel, that can be manipulated by male perpetrators and thus play a complicit role in reproducing crimes. But by blurring the divide between fiction and nonfiction, the reception and massive readership of the novel attest to a sort of narrative solidarity against sexual violence, making it an iconic text of the contemporary feminist movement in East Asia.
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Goldie, Terry. "El Dorado and Paradise: Canada and the Caribbean in Austin Clarke’s Fiction by Lloyd W. Brown." ESC: English Studies in Canada 16, no. 4 (1990): 477–80. http://dx.doi.org/10.1353/esc.1990.0007.
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Drozdowska, Karolina. "„Najpierw ręka lewa, potem ręka lewa”. Tłumacz norweskich powieści kryminalnych wobec błędów w tekście oryginalnym." Przekładaniec, no. 40 (2020): 88–104. http://dx.doi.org/10.4467/16891864pc.20.005.13168.
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“First the left hand, then the left hand.” A Translator of Norwegian Crime Novels Faced with Mistakes in the Source Text Norwegian crime fiction is a genre which has gained enormous popularity among readers around the world over the past several years, and this creates a greater demand for translation of this kind of literature. The purpose of this text is to take a closer look at mistakes in Norwegian source texts a translator has to face when working with this genre. The article gives a short summary of potential causes of these mistakes, attempts to categorize them and describes possible ways of correcting them. The main argument is that the translator’s role and identity change in this process, as the translator often has to perform the tasks of an additional editor or proofreader. The crime novels analyzed here are: Blod i dans [Dance with the Devil] by Gard Sveen, Møt meg i paradis [Meet me in Paradise] by Heine Bakkeid and Alt er mitt [Deep Fjord] by Ruth Lillegraven.
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Rozhin, V. O. "The idea of paradise and its embodiment in S. Snegov's novel “Humans as Gods”." Memoirs of NovSU, no. 5 (2023): 543–49. http://dx.doi.org/10.34680/2411-7951.2023.5(50).543-549.
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The novel “Humans as Gods” by the Soviet science fiction writer S. Snegov is analyzed. In particular, the study is devoted to identifying the characteristic features of the world of the future of human civilization, which is depicted in the work at the stage of its maturity. The new order of human life is compared with the description of the lives of people from the mythical past, which is reflected in ancient and biblical sources. The similarities and distinctive features of ideas about a happy life are indicated. The importance of labor activity for a person of the future is noted as a necessary element for creating a unified society with equal rights and opportunities, despite the carelessness of representatives of the Golden Age era. The conclusion is made about the influence of ancient myths on the formation of the creative idea of the author of the novel, modeling a picture of a bright future based on the achievements of scientific and technological progress and a highly developed moral sense of a person.
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Hebdige, Dick. "HOLE: Swimming ... Floating ... Sinking ... Drowning." Film Studies 15, no. 1 (2016): 97–128. http://dx.doi.org/10.7227/fs.0003.
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The body in the swimming pool as metonym for trouble in paradise is a recurrent motif bordering on cliché in Hollywood/West Coast sunshine noir. Through an intermedial survey of film, TV and literary fiction, photography, design and architectural history, crime and environmental, reportage, public health and safety documents this article examines the domestic swimming pools ambiguous status as a symbol of realised utopia within the Californian mythos from the boom years of the backyard oasis in the wake of the Second World War to the era of mass foreclosures, restricted water usage and ambient dread inaugurated by 9/11, the global recession and the severest drought in the states recorded rainfall history.
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Rennie, David. "“The world only exists through your apprehension”: World War I in This Side of Paradise and Tender Is the Night." F. Scott Fitzgerald Review 14, no. 1 (November 1, 2016): 181–97. http://dx.doi.org/10.5325/fscotfitzrevi.14.1.181.
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Abstract Scholars have spoken of Tender Is the Night as marking Fitzgerald's most “mature” representation of World War I in his fiction. This article, however, argues that all of the main facets of Fitzgerald's depiction of World War I in Tender Is the Night can be identified in his first novel, This Side of Paradise. Amory Blaine, like Dick Diver, is given to questioning the significance of the war, concluding as he does that it has resulted in a profound and irrevocable severance between his and preceding generations. Amory and Dick are further linked by the ways in which their self-conception is simultaneously challenged and empowered by World War I. Although divorced from the stability of the pre-war world, Amory and Dick appropriate the war, as they understand it, as a powerful new means of conceptualizing themselves and the generation to which they belong. The article concludes by arguing that This Side of Paradise and Tender Is the Night are further connected by Fitzgerald's incorporation of characters that hold readings of the war that contrast with those offered by the protagonist, a strategy that accentuates the subjectivity of Amory and Dick's views.
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De Voss, Vida, and Jairos Kangira. "A Necessary Ethics: Bakhtin and Dialogic Identity Construction in Four Morrison Novels." African Journal of Inter/Multidisciplinary Studies 1, no. 1 (June 28, 2019): 25–36. http://dx.doi.org/10.51415/ajims.v1i1.803.
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Reading Morrison’s The Bluest Eye, Tar Baby, Paradise and A Mercy through the lens of Bakhtin reveals identity construction as a dialogic endeavour. While this method may be necessary for character development, it serves the further purpose of making an ethical case for the self’s responsibility to others. This paper considers key theoretical instruments, as enabled by Bakhtin, in relation to Morrison’s treatment of naming and other character constructing elements. It is ultimately Morrison’s construction of identity as dialogical which enables the argument that Morrison’s fiction offers an ethics in the interest of the other. Writing about the marginalised, the abused and the voiceless reveals Morrison’s oeuvre is unmistakably an ongoing engagement with the injustice of slavery and its political, economic, social and psychological aftermath. The relevance of this article lies in its analysis of Morrison’s fiction as an antidote which challenges the self’s “self-interest”, which is at the heart of injustice. This study’s primary contribution is in articulating Morrison’s portrayal of the self’s identity construction as an inescapable dialogism that forms the foundation to a philosophy that promotes greater humaneness, given the other is not separate from the self, but in fact, integral to the self.
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De Voss, Vida, and Jairos Kangira. "A Necessary Ethics: Bakhtin and Dialogic Identity Construction in Four Morrison Novels." African Journal of Inter/Multidisciplinary Studies 1, no. 1 (June 28, 2019): 25–36. http://dx.doi.org/10.51415/ajims.v1i1.803.
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Reading Morrison’s The Bluest Eye, Tar Baby, Paradise and A Mercy through the lens of Bakhtin reveals identity construction as a dialogic endeavour. While this method may be necessary for character development, it serves the further purpose of making an ethical case for the self’s responsibility to others. This paper considers key theoretical instruments, as enabled by Bakhtin, in relation to Morrison’s treatment of naming and other character constructing elements. It is ultimately Morrison’s construction of identity as dialogical which enables the argument that Morrison’s fiction offers an ethics in the interest of the other. Writing about the marginalised, the abused and the voiceless reveals Morrison’s oeuvre is unmistakably an ongoing engagement with the injustice of slavery and its political, economic, social and psychological aftermath. The relevance of this article lies in its analysis of Morrison’s fiction as an antidote which challenges the self’s “self-interest”, which is at the heart of injustice. This study’s primary contribution is in articulating Morrison’s portrayal of the self’s identity construction as an inescapable dialogism that forms the foundation to a philosophy that promotes greater humaneness, given the other is not separate from the self, but in fact, integral to the self.
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Björk, Ulf Jonas. "“Far Darker than the IKEA Paradise of Sensible Volvos”: American Perceptions of Sweden Filtered Through Crime Fiction." American Studies in Scandinavia 47, no. 2 (September 1, 2015): 63–79. http://dx.doi.org/10.22439/asca.v47i2.5350.
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This study looks at references made to Sweden in U.S. newspaper and magazine articles discussing Swedish crime fiction. Books by authors such as Stieg Larsson and Henning Mankell have enjoyed a great deal of popularity in the United States in recent years, and institutions such as the Swedsh Institute in Stockholm have expressed the hope that this popularity will result in greater interest in and knowledge about Sweden. The findings of the study, however, suggest that such is not necessarily the case. U.S. media references to the home country of Larsson and Mankell tend to follow stereotypes and focus on the country’s cold climate, or to see Sweden solely as the origin of products and pop-culture phenomena already familiar to Americans, such as IKEA, Volvo and ABBA. The study considers this view of Sweden part of a larger trend in U.S. mass media away from politics and social issues and toward consumer-oriented news.
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Shaver, Andrew. "Generating a Performance of the Constructed Self: Thirteen Minutes in The Paradise Institute." Canadian Theatre Review 113 (January 2003): 71–74. http://dx.doi.org/10.3138/ctr.113.011.
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The Paradise Institute, as exhibited in Toronto at The Power Plant Contemporary Art Gallery at the Harbourfront Centre, is an oddity indeed. Straddling critical discourses, and occupying an ambiguous space within the context of the “white-wall” gallery, it defies standard means of investigation because it insinuates so many forms of art practice, incorporating visual art, sculpture, site installation, film, live performance and sound design. The work is the product of a long-time collaboration between high profile Canadian artists, and partners, Janet Cardiff and George Bures Miller. This piece, their most recent collaboration, was commissioned by Wayne Baerwaldt – at the time adjunct curator at Winnipeg’s Plug In-ICA, now the director of The Power Plant – along with contributing partner The Walter Phillips Gallery (Banff), as Canada’s entry in the forty-ninth Venice Biennale (2001). The Paradise Institute won a special award at the Venice Biennale, and marked the first time that Canada garnered any kind of decoration at the prestigious art competition. It is significant that this piece won a special prize for “involving the audience in a new cinematic experience where fiction and reality, technology and the body converge into multiple and shifting journeys through space and time.”
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Collis-Buthelezi, Victoria J. "Peter Abrahams’s Island Fictions for Freedom." Small Axe: A Caribbean Journal of Criticism 25, no. 1 (March 1, 2021): 84–101. http://dx.doi.org/10.1215/07990537-8912789.
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When South African–born Peter Abrahams moved to Jamaica in 1956, he thought he had found a racial paradise. Over the next six decades as a Jamaican, his understanding of race in Jamaica was complicated after independence. His last two novels—This Island Now (1966) and The View from Coyaba (1985)—fictionalize the transition to independence in the anglophone Caribbean and how that transition related to the set of concerns unfolding across the rest of the black world. This essay traces Abrahams’s thought on questions of race and decolonization through a close reading of his Caribbean fiction and how he came to theorize the literal and conceptual space of the Caribbean—the island—as a strategy for freedom. In so doing, the author asks, What are the limits of the Caribbean novel of the era of decolonization (1960s–80s) in the anglophone Caribbean? What constitutes it? And how does it articulate liberation?
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Selay Marius, KOUASSI. "‘‘They could defecate over a whole people […] and defecate some more by tearing up the land”: Ecological (Un) consciousness and Resistance in Toni Morrison’s Selected Novels." International Journal of Social Sciences and Humanities Invention 5, no. 12 (December 30, 2018): 5207–13. http://dx.doi.org/10.18535/ijsshi/v5i12.19.
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This paper aims to deconstruct Toni Morrison’s selected novels through the lenses of ecocriticism. It looks at her work from an ecocritical angle. Sula has traditionally been read as a story about female friendship ;Song of Solomon has been critically acclaimed for its vivid capture of African American cultural heritage ; Tar Baby is regarded as a masterpiece because of its high folkloric resonance ; Beloved is perceived as a survey of the horrors of slavery ; Paradise is regarded as the narrative of contemporary communities confronted with great social changes, while A Mercy is considered to be a story of black women slaves’ struggles to gain freedom in America in the 1600s. Historically, critics have attempted to perceive Morrison’s fiction from the socio-historical lens that has little to do with Nature. However, Nature serves as a background to Morrison's work. It not only serves as imagery but more of a living being that reacts to human exploitation. Morrison's selected novels highlight diverse aspects of this human versus nature relationship that deserves an in-depth analysis. In fact, these novels provide ample evidence that the author sees ecosensitivity and ecological consciousness as possible ways to curb environmental degradation. This paper posits the nonhuman world encoded in Morrison’s novels. It maintains that Morrison’s fiction could raise awareness about ecological wisdom which is key to understanding and solving the current environmental challenges.
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Kolmakova, O. A., and M. N. Zhornikova. "Dostoevsky’s Ethical and Aesthetical Conception and the Problem of Russian National Identity in A. Ponizovsky’s novel <i>Turning into a Listening Ear</i>." Vestnik NSU. Series: History and Philology 23, no. 2 (February 21, 2024): 126–37. http://dx.doi.org/10.25205/1818-7919-2024-23-2-126-137.
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Purpose. The aim of the article is to investigate the influence of the F. M. Dostoevsky's creative heritage on the ideological and artistic originality of A. Ponizovsky's novel Turning into a Listening Ear (2013).Results. Ponizovsky's interpretation of Dostoevsky related to the theme of the Russian world and Russian identity. Two plotlines, social (ordinary Russians’ stories) and philosophical (controversy around them), create a conflict field typical for Dostoevsky's works: meaning of life and absurdity of existence, cruelty and compassion, Russian people and Russia. Dostoevsky's intertext is found at all levels of text organization. A deep philosophical understanding of the Russian life’s problems is achieved due to a set of Dostoevsky's intertexts, which have acquired the status of metanarratives in Russian culture (Grushenka's legend about the saving onion, devil's anecdote about a quadrillion kilometers on the way to paradise, Svidrigailov's image of eternity as a bathhouse with spiders). Following Dostoevsky's stylistic strategies includes the usage of a polyphonic novel resources, and reproducing individual techniques of the writer's poetics (anachronism, coexistence of fiction and non-fiction, using of Holy Scripture's text). The very person of Dostoevsky becomes an object of controversy for Ponizovsky. Colliding two concepts of the classic’s image – Freudian and Christian-oriented, the modern author creates a portrait of Dostoevsky’s conflicting personality.Conclusion. The perception of F. M. Dostoevsky's work by A. Ponizovsky is not only reminiscent, but also “genetic” by its nature due to the worldview commonality of these Russian writers.
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Murray, Melanie A. "Pathologies of paradise: Caribbean detours; “Shuttles in the rocking loom”: mapping the black diaspora in African American and Caribbean fiction." Journal of Postcolonial Writing 51, no. 3 (September 2, 2014): 368–70. http://dx.doi.org/10.1080/17449855.2014.951191.
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Dickson, David. "From Lanzmann’s Circle of Flames to Bodies in Pain: Anglo-American Holocaust Fiction and Representations of the Gas Chamber." Genealogy 4, no. 3 (August 25, 2020): 88. http://dx.doi.org/10.3390/genealogy4030088.
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This article discusses the apparent desire in Anglo-American Holocaust fiction to form a deeper connection to the horror of the Holocaust by recreating scenes of suffering in the gas chamber. Using Elaine Scarry’s The Body in Pain, Alison Landsberg’s theory of ‘prosthetic memory’ and the concept of ‘feeling-with’ as outlined by Sonia Kruks, it discusses the motives underlying these representations and what an audience stands to learn from these bodily encounters with the Holocaust past. The article begins by discussing texts that explore the notions of temporal and emotional distance and the unreachability of the Holocaust dead, while also reflecting the corresponding impulse to reconnect with the murdered by physicalising them as bodies in pain. It then moves on to works that aim to make the experience of death in the gas chamber literally inhabitable for present-day nonwitnesses. In pursuing this argument, the article focuses on six representative texts: Steven Spielberg’s Schindler’s List (1993), Bryan Singer’s Apt Pupil (1998), Tim Blake Nelson’s The Grey Zone (2001), The Boy in the Striped Pyjamas (2006 and 2008, for the book and film respectively), In Paradise (2014) by Peter Matthiessen and Mick Jackson’s Denial (2016).
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Mastandrea, Martina. "“Head and Shoulders” on the 1920s Silver Screen: A Rediscovery of The Chorus Girl's Romance." F. Scott Fitzgerald Review 14, no. 1 (November 1, 2016): 31–59. http://dx.doi.org/10.5325/fscotfitzrevi.14.1.31.
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Abstract This article deals with the rediscovery of the first and only extant silent film entirely based on a work by F. Scott Fitzgerald, which has been held in the Museum of Modern Art archives in New York City for twenty-four years. Released in August 1920 as a film adaptation of Fitzgerald's 1920 short story “Head and Shoulders,” The Chorus Girl's Romance has been listed as lost by F. Scott Fitzgerald and film scholars. While This Side of Paradise and the short stories collected in Flappers and Philosophers have been studied in relation to Fitzgerald's early success, William C. Dowlan's 1920 adaptation remains unexplored territory even though the sale of its film rights pre-dates the two books and was publicized by Scribner's to promote the young writer's debut novel. A surviving trace of 1920s celebrity culture, The Chorus Girl's Romance deserves scholarly attention if only for the fact that it is the sole existing film record of how Hollywood interpreted Fitzgerald's fiction during the silent era.
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Duda, Katarzyna. "Mitologia radziecka (beletrystyka i reportaż rosyjski XX i XXI wieku)." Politeja 15, no. 55 (May 22, 2019): 225–50. http://dx.doi.org/10.12797/politeja.15.2018.55.11.
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Soviet Mythology (Russian Belles-Lettres and Non-fiction Literature in 20th and 21st Century)Soviet history, since just after the October Revolution until the present day, has been full of myths created by the communist ideology and politics. In the past, these numerous myths (together with utopias) helped people to believe in the existence of a paradise on the Earth. The most popular of these myths are the myth of the victim, the myth of a hero fighting for ‘the peace in the whole world’, the myth connected with the figure of a Leader, Teacher showing how people have to speak, behave and act, the myth of the Great Patriotic War… The last one is especially well known all over the world because Soviet politicians always consider themselves winners who had regained freedom. These days the Great Patriotic War myth is used or even overused in the Russian Federation because people are looking for an event which could connect all former Soviet nations. Books written by Russian authors are the proof of this tendency.
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T. S., Navami, and Somdatta Bhattacharya. "Inspector Gowda’s Divided City: Space, Inequality, and Crime in Anita Nair’s Bangalore Novels." Zeitschrift für Anglistik und Amerikanistik 70, no. 4 (November 30, 2022): 433–48. http://dx.doi.org/10.1515/zaa-2022-2076.
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Abstract Bengaluru/Bangalore, the capital city of the Indian state of Karnataka, has played a vital role in the advancement of communication and technology across the globe. Following the progressivist logic of neoliberal urbanism, the city evolved from the quiet, placid ‘Pensioners’ Paradise’ into the bustling ‘Silicon Valley of India’ at an accelerated pace. Bangalore’s sudden growth into a global cyberpolis has motivated its recent entry into the realm of crime fiction in English. The current paper draws on this connection and proposes to offer a spatial critique of the crime novels in Anita Nair’s Inspector Gowda series, Cut like Wound (2012) and Chain of Custody (2016), set in Bangalore. To map the transitions in the spatial structures and social relations of this rapidly changing city, it uses interdisciplinary approaches of geocriticism and the postmodern social theories of space. Also, by analysing the representations of residential segregation in Nair’s novels, the paper intends to foreground how social inequalities, gentrification, and ghettoization have contributed to the raging scenario of crime and violence in Bangalore.
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Hartglass, Craig. "Notes From The Struggle." After Dinner Conversation 3, no. 11 (2022): 72–88. http://dx.doi.org/10.5840/adc2022311106.
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Why does society seem to support the leadership of bully strongmen? In this work of philosophical short story fiction, the narrator is visiting his friend Tomas. They have been of-and-on friends for years, but now Tomas is dying. Over drinks, they reflect on their lives while Tomas retells the story of a baboon tribe he read about. The baboon tribe was run by vicious leaders and violence was common. Until, one day, they found a trash heap. The largest, most dominant members ate from the heap, while the less aggressive were denied access. Eventually, the trash gives the baboon’s tuberculosis, and all the aggressive males die off. The passive males reform the tribe as an egalitarian paradise of sharing. As soon as baboons from the outside tribes try to enter, they quickly learn they will be pushed out unless the adopt the kinder ways. This goes on for six generations. Plato argued humans were too stupid to trusted with voting in a democracy. The baboons might tend to agree.
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Frątczak-Dąbrowska, Marta. "Living in paradise: The ecological conscience of contemporary Anglo-Guyanese fiction as seen through the examples ofDark Swirl, The Ventriloquist’s TaleandThe Timehrian." Journal of Postcolonial Writing 55, no. 2 (March 4, 2019): 182–94. http://dx.doi.org/10.1080/17449855.2019.1590610.
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Cutter, Martha J. "When Black Lives Really Do Matter: Subverting Medical Racism through African-Diasporic Healing Rituals in Toni Morrison’s Fiction." MELUS 46, no. 4 (December 1, 2021): 208–34. http://dx.doi.org/10.1093/melus/mlac001.
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Abstract Toni Morrison spent much of her career detailing the unpredictability of African American existence within a racist society, with a special focus on patriarchal violence and medical apartheid against women’s bodies. Yet Morrison also limns out alternative modes of healing within a Black metacultural framework that moves between Nigeria, Brazil, and Egypt. As we move forward from the COVID-19 crisis, research has suggested that training more African American doctors, nurses, and physician assistants might curtail medical racism. Morrison’s fiction looks to a more basic level in which love of the bodies of African American people is at the center of healing. This article therefore discusses medical racism and applies Morrison’s lessons to the COVID-19 moment that her writing trenchantly foreshadows. It focuses on three healers who elide the medical establishment to embody a metacultural ethics of healing: Baby Suggs (in Beloved [1987]), Consolata Sosa (in Paradise [1997]), and Ethel Fordham (in Home [2012]). Morrison fuses an African-diasporic framework with embodied new knowledge that allows individuals to gain insight and agency in a white-dominant medical world that still refuses to endorse the idea that Black people’s bodies and psyches really do matter. An examination of these healers’ practices therefore sheds light on the COVID-19 moment by suggesting ways that African American people can stay “woke” and have agency when encountering and navigating traditional health care systems, which even today view the bodies of African Americans as fodder for medical experiments, immune to disease, and not in need of ethical and humane medical care.