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Journal articles on the topic 'Play on words in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Savchyn, N. B. "THE PLAY OF WORDS TRANSLATION PECULIARITIES IN ENGLISH FICTION." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 1, no. 1 (2025): 279–84. https://doi.org/10.32782/2710-4656/2025.1.1/45.

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2

Ostapenko, S. A., and O. Yu Krytskyi. "INTERLINGUAL PLAY OF WORDS AND ITS REPRODUCTION IN TRANSLATION." INTELLIGENCE. PERSONALITY. CIVILIZATION, no. 1 (26) (June 30, 2023): 41–49. http://dx.doi.org/10.33274/2079-4835-2023-26-1-41-49.

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Objective. The objective of the article is to study the influence of interlingual word play on fiction translation, to provide practical recommendations and strategies for this stylistic device rendering in he process of translation; to expand the understanding of the complexities and peculiarities of language game elements transfer, which will help preserve the original meaning and emotional impact of the text. Methods. The main scientific results are obtained with the help of such methods as the analysis and generalization of scientific and educational and methodological literature on the pr

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3

Massie, Pascal. "Masks and the Space of Play." Research in Phenomenology 48, no. 1 (2018): 119–46. http://dx.doi.org/10.1163/15691640-12341387.

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Abstract Masks are devices and symbols. In the first instance, they are artifacts that allow opposite poles to take each other’s place. They split the world into appearance and reality, manifest and repressed, sacred and profane. In this sense, they are dualistic. But by so doing they invert these terms. In this sense, they are dialectical. In the second instance, they exemplify doubt about people’s identities and the veracity of their words; they denote duplicity, inauthenticity, and hypocrisy. The conjunction of these two senses resides in the fact that masks are at the threshold between rea

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4

Aleksander, Bjelčevič. "Truth and lie in literature: Slovene writers sued for slander." "Świat i Słowo" – "World and Word" 29, no. 2 (2018): 207–20. https://doi.org/10.5281/zenodo.1216274.

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In 1999 novelist Breda Smolnikar was sued for defamation in her novel Ko se tam gori olistajo breze (When the Birches Up There Are Greening) by certain family Nakrst. Smolnikar received broad public support. In public defence different arguments were in play, the most frequent were trying to prove that the novel does not speak about the family Nakrst because (a) all literature is fiction and all literary characters are fictional beings; (b) similarity between literary character and a real person is always a coincidence; (c) all literature is a possible world and refers to people’s counte

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Wu, Yan. "Experiential futuristic science fiction: Genre and techniques." Cultures of Science 6, no. 4 (2023): 329–40. http://dx.doi.org/10.1177/20966083231216504.

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Experiential futurism is an important subgenre of futuristic science fiction in China, with the greatest number of works and the richest content. Several important works in this genre have gained widespread influence. Experiential futuristic works focus on conveying the experience of the future through words, and often use considerable appeal to call on people to pay attention to and to think about the future. Such works can be divided into two types: those attempting to convey the experience of a stand-alone technology and those attempting to convey a panoramic experience. The methods for cre

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Zhi, Chixin. "The Construction of Multimodal Metaphors in Interstellar." Communications in Humanities Research 18, no. 1 (2023): 60–68. http://dx.doi.org/10.54254/2753-7064/18/20231119.

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Interstellar is a science fiction film by British director Christopher Nolan. In 2014 Nolan directed the science fiction movie. The movie gives full play to the role of metaphor in movie creation, using verbal symbols such as lines, words and non-verbal symbols such as images and sounds as carriers, and jointly participating in multimodal metaphor construction. Through multimodal metaphors, the film deepens the theme, sublimates the aesthetic experience, highlights the artistic value of the film, and arouses the audiences thinking and emotional resonance. The use of multimodal metaphors also b

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7

Berkovets, Vira. "Functional field of phonetic word in the modern Ukrainian." Ukrainian Linguistics, no. 47 (2017): 103–11. http://dx.doi.org/10.17721/um/47(2017).103-111.

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This study is devoted to the identification and description of areas of functioning of phonetic words (rhythmical structures, accent-rhythmical structures, rhythmical groups, tacts) in modern Ukrainian. The article highlights the features of using of phonetic words as means of language play in the colloquial, artistic, journalistic (media) functional styles. Also there were investigated the figurative and expressive potential of phonetic words in fiction; the derivational specificity of such words in aspects of general language and occasional derivation in different functional styles in modern

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Bloshchynskyi, Ihor, Yuliya Boyko, and Oleksandr Yemets. "The quantitative aspect of foregrounding in the classical and contemporary short stories." Forum for Linguistic Studies 5, no. 2 (2023): 1675. http://dx.doi.org/10.59400/fls.v5i2.1675.

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The article considers the language means of realizing the quantitative aspect of foregrounding in the short stories by Chopin and contemporary flash fiction. The major technique of the quantitative aspect of foregrounding in Chopin’s stories is stylistic convergence. Stylistic convergences in her stories normally include extended metaphors and phonetic repetitions. They are usually located in such a strong position as the beginning (in 8 out of the 10 analyzed stories) where the writer describes the personality and appearance of the main character. The use of alliterations makes the stories ve

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Gittel, Benjamin. "In the Mood for Paradox? Das Verhältnis von Fiktion, Stimmung und Welterschließung aus mentalistischer und phänomenologischer Perspektive." Journal of Literary Theory 12, no. 2 (2018): 300–320. http://dx.doi.org/10.1515/jlt-2018-0017.

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Abstract It is widely acknowledged that responses to fiction can be divided into two categories: emotions or moods. Research on the paradox of fiction, however, solely focused on emotional responses to fiction. This paper analyses the different potentials of the mood concept with regard to the paradox of fiction: its potential to avoid the paradox on the one hand and its potential to rise a new paradox of fiction, a paradox of fiction for moods, on the other. To this end, the paper distinguishes two different meanings of the everyday concept of mood and two different paradigms in the research

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10

Giulia, Iannuzzi. "The Translation of East Asian Science Fiction in Italy: An Essay on Chinese and Japanese Science Fiction, Anthological Practices and Publishing Strategies beyond the Anglo-American Canon." Quaderni di Cultura 12 (January 1, 2015): 85–108. https://doi.org/10.5281/zenodo.3604992.

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This essay examines the translation of Chinese and Japanese science fiction literature in Italian specialized collections between the 1980s and the 2000s, critically assessing cultural agencies involved, and the role of Anglo-American translations as vehicular initiatives. Science fiction as a genre with a strong identity - with an easily recognizable and cross-mediatic repertoire of themes and tropes - is a unique vantage point from which to observe the shape and functioning of a trans-national literary production, or, in other words, of a literature which presents global characteristics shar

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Draper, Christine A., and Pamela C. Jewett. "Books You and Your Students Need to 'Check Out'!" Georgia Journal of Literacy 39, no. 2 (2016): 33–34. http://dx.doi.org/10.56887/galiteracy.52.

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For the past four years, both Pam and I have sat on the Notable Children's Books in the English Language Arts (NCBLA) Book Aware Committee. Every year the seven member national committee selects 30 award winning titles in fiction, non-fiction, and poetry for children in grades K-8. To receive this award books must meet one or more of the following criteria: • explicitly dealing with language, such as play on words, word origins, or the history of language;• demonstrating uniqueness in the use of language or styles; • inviting child response or participation;• having an appealing format;• being

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Oatley, Keith. "Worlds of the possible." Pragmatics and Cognition 21, no. 3 (2013): 448–68. http://dx.doi.org/10.1075/pc.21.3.02oat.

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The ability to think in abstractions depends on the imagination. An important evolutionary change was the installation of a suite of six imaginative activities that emerge at first in childhood, which include empathy, symbolic play, and theory-of-mind. These abilities can be built upon in adulthood to enable the production of oral and written stories. As a technology, writing has three aspects: material, skill based, and societal. It is in fiction that expertise in writing is most strikingly attained; imagination is put to use to create simulations of the social world that can usefully be offe

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13

Sun, Kun, and Rong Wang. "The Evolutionary Pattern of Language in English Fiction Over the Last Two Centuries: Insights From Linguistic Concreteness and Imageability." SAGE Open 12, no. 1 (2022): 215824402110693. http://dx.doi.org/10.1177/21582440211069386.

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Fiction has come to play an essential part in human culture and life in recent centuries. Because of its importance, the language or discourse of fiction has been widely studied. Discerning the evolutionary pattern of language in fiction is greatly helpful in understanding the changes in human culture and society. However, most previous studies on literary language that made use of quantitative or computational methods restricted themselves to a few authors or groups and only took into account a relative short span of time. Furthermore, most of the quantitative analysis therein was based on a

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14

Tan, Eduard Sioe-Hao, and Valentijn Visch. "Co-Imagination of Fictional Worlds in Film Viewing." Review of General Psychology 22, no. 2 (2018): 230–44. http://dx.doi.org/10.1037/gpr0000153.

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The typical experience of narrative film is characterized by a remarkable intensity as to absorption and emotion. Current explanations attribute the experience to the realistic perceptual impact of the film. This theoretical article sets out to explain the experience as the result first of the film-viewer's acts of imagination of fictional worlds. More specifically, it seems suitable to conceptualize the film experience as arising from pretense play. Pretense play can afford room for free imagination leading to intense emotion, as well as restrictions to the imagination “quarantining” ( Leslie

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15

Cusack, Carole M. "Fiction into religion: imagination, other worlds, and play in the formation of community." Religion 46, no. 4 (2016): 575–90. http://dx.doi.org/10.1080/0048721x.2016.1210390.

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16

Mohigul KAXAROVA. "THE PRINCIPLES OF LINGUA-POETIC ANALYSIS OF LITERARY WORKS." UzMU xabarlari 1, no. 1.2 (2025): 325–27. https://doi.org/10.69617/nuuz.v1i1.2.6407.

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The article is about a theoretical analysis of literary works, focusing on how language and its aesthetic functions play a crucial role in the creation and understanding of literary fiction. It also discusses the relationship between form and content in literature, the significance of content’s components, and the role of linguistic poetics in analyzing literary texts.

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González Cruz, María-Isabel. "Hispanismos en el discurso romántico de Harlequin y Mills & Boon. Ámbitos temáticos y funciones socio-pragmáticas." Moderna Språk 112, no. 1 (2018): 165–86. http://dx.doi.org/10.58221/mosp.v112i1.7714.

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This paper studies the Hispanicisms employed in 25 English popular romance fiction novels published by Harlequin and Mills & Boon. The texts belong to the corpus compiled for Research Project FFI2014-53962-P, which focuses on an interdisciplinary analysis of romances set mainly in the Canaries (Spain), but also in other Atlantic islands. In these romances, most of the authors resort to code-switching, i.e. the insertion of Spanish words, phrases and sentences, as a literary strategy. After offering a description of the socio-cultural framework of this type of works and a brief review of so

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18

López-Rúa, Paula. "The Subjugation of Women through Lexical Innovation in Margaret Atwood’s The Handmaid’s Tale." Feminismo/s, no. 38 (July 13, 2021): 23. http://dx.doi.org/10.14198/fem.2021.38.02.

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Given the importance of novel formations in science and speculative fiction, the aim of this paper is to analyse a selection of morphosemantic and semantic neologisms that occur in the feminist dystopia The Handmaid’s Tale (1985), namely those items more closely connected with women’s lives. These items are gathered, classified and discussed by resorting to the tools provided by Morphology, Lexical Semantics, Onomastics and Women’s Studies. Therefore, the paper explores how new names for people (Econowives, Offred), activities (Particicution), artifacts (Birthmobile) and places (the Colonies)

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19

Green, Andrew, and Roger Dalrymple. "Playing at Murder: The Collaborative Works of the Detection Club." Crime Fiction Studies 2, no. 1 (2021): 63–78. http://dx.doi.org/10.3366/cfs.2021.0034.

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This paper explores the inter-war collaborative works of the Detection Club as a source of commentary and insight on the ludic and dialogic nature of Golden Age detective fiction. Less well known than the single-authored works of Detection Club members, the multi-authored Behind the Screen, The Scoop, The Floating Admiral, Ask a Policeman and Six Against the Yard capitalise upon the genre's capacity for intertextual play and self-conscious engagements with literary formula and convention. By adopting a range of collaborative approaches and working in different combinations, the joint authors (

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20

Duan, Zh. "Semantic analysis of negative-evaluative nouns “ловкач ‘dodger’”, “прохиндей ‘trickster’” and “прохвост ‘swindler’” in modern fiction and journalistic texts". Philology and Culture, № 1 (26 квітня 2025): 44–49. https://doi.org/10.26907/2782-4756-2025-79-1-44-49.

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This article studies three synonymic nouns of the noun series “lovkach ‘dodger’” in the Russian linguistic picture of the world. Semantic peculiarities and contexts of use of these lexemes are analyzed based on the words “lovkach ‘dodger’”, “prokhindey ‘trickster’” and “prokhvost ‘swindler”’. The analysis uses the data of the Russian National Corpus, which makes it possible to reveal the function specifics of these words in different types of discourse; special attention is paid to the role these nouns play in the formation of national-cultural perceptions of dishonesty, cunning and deceitfuln

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21

Holderness, Graham. "‘Our Troy, our Rome’." Critical Survey 34, no. 4 (2022): 93–112. http://dx.doi.org/10.3167/cs.2022.340406.

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In Titus Andronicus, the many classical literary sources of the play function as templates for its events, as if the tragedy had already been anachronistically pre-written by poets of the Augustan era. The literature of the past, like history, serves, in Titus’s own words, as ‘a pattern, precedent and lively warrant’ (5.3.57) for present action and behaviour. When literature and drama appear to become the basis and precedent for human experience, then there is a two-way process of consolidation and de-realisation. Dramatic and poetic literature can start to look more like history; but at the s

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22

Koliasa, O. V. "Phonographic and graphostylistic mechanisms of creating linguistic absurdity in postmodern fiction." MESSENGER of Kyiv National Linguistic University. Series Philology 27, no. 1 (2024): 118–25. http://dx.doi.org/10.32589/2311-0821.1.2024.309631.

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This article explores the phonographic and graphostylistic mechanisms employed by postmodern authors to create linguistic absurdity in fiction, using phonetic and graphic variants. The analysis focuses on violations of phonetic and graphic norms that deviate from traditional literary conventions. At the phonographic level, the mechanisms for creating linguistic absurdity include sound imitation, alliteration, assonance, phonetic language play, and phonetic occasionalisms. These techniques result in unusual combinations of phonemes that contrast with accepted, stereotypical sound patterns. This

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23

Ferholt, B., R. Lecusay, A. P. Rainio, et al. "Playworlds as Ways of Being, A Chorus of Voices: Why are Playworlds Worth Creating?" Cultural-Historical Psychology 17, no. 3 (2021): 95–103. http://dx.doi.org/10.17759/chp.2021170313.

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This paper discusses the playworlds of the Playworld of Creative Research (PWCR) research group. Play¬worlds are created from a relatively new form of play that can be described as a combination of adult forms of creative imagination (art, science, etc.), which require extensive real life experience, and children’s forms of creative imagination (play), which require the embodiment of ideas and emotions in the material world. In playworlds, adults and children (or teenagers or seniors) enter into a common fantasy that is designed to support the development of both adults and children (or teenag

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BONDARENKO, Yu. "LITERARY CREATIVITY OF SCHOOLCHILDREN ON THE BASIS OF «IMAGINATIONAL OBJECTS»." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 35 (May 30, 2025): 20–26. https://doi.org/10.33989/2075-146x.2025.35.330948.

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The author supports the idea that creative work is an important stimulus of modern Ukrainian schoolchild’s personality development and this kind of educational activity should play an essential role in the process of art of the word studying. The paper deals with the elaboration of a specific method of organizing schoolchildren’s literary creativity. The scientist bases his investigation on the R. Ingarden’s notion of «imaginational objects», defines their peculiarities, determines their role in the activization of schoolchildren’s creative potential. So attention is drawn to event, chronotopi

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Kabatay, kyzy A. "Pseudonyms and Nicknames as a Variety of Anthroponyms in Modern Prose." Bulletin of Science and Practice, no. 8 (August 15, 2023): 330–38. http://dx.doi.org/10.33619/2414-2948/93/38.

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Such anthroponyms varieties as nicknames and pseudonyms are considered. The importance of using these poetonyms in the formation of the character’s image is revealed. Fiction works represent a unique sphere of using proper names, where words acquire meaning not only in the context of the real world, but also in the fictional reality created by the authors. Nicknames and pseudonyms are the anthroponymic field periphery, but they play an important role in the structure of a literary text. They act as a fixing way the development of the world and human experience. Proper names create linguistic d

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King, Rob. "The Typewritten Archives of Cornell Woolrich." Crime Fiction Studies 4, no. 1 (2023): 98–115. http://dx.doi.org/10.3366/cfs.2023.0087.

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This paper offers a media-archaeological inquiry into Cornell Woolrich’s fiction by looking at the media technology from which it sprang: his typewriter. In his 1986 study, Gramophone, Film, Typewriter, media theorist Friedrich Kittler identified the innovative characteristics of the typewriter with a shift from the handwritten word as flowing image to the typewritten word as disembodied and anonymised. This paper uses the case study of Cornell Woolrich to build upon and qualify these observations. It shows how Woolrich’s typewriter worked to decenter the notion of an authorial self, opening i

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Zaiter, Walid Ali. "Teaching Fiction: Challenges and Remedies for College Students and Instructors." Volume-2: Issue-2 (February, 2020) 2, no. 2 (2020): 29–36. http://dx.doi.org/10.36099/ajahss.2.2.5.

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I have been teaching fiction for a number of years and every time I walk into class to teach my students fiction, a short story or a novel, I get embarrassed to find out that my students who have taken courses such as “The Rise of the Novel, or “Introduction to Literature” still do not know to answer basic questions related to such courses. What is literature? What are the major genres of literature? What is fiction? What are the basic elements of fiction? These questions are fundamentals for literature students. Their inability of not answering them will cause big problems for college instruc

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Pienton, W. M. "The Book of Approved Words." After Dinner Conversation 2, no. 7 (2021): 101–8. http://dx.doi.org/10.5840/adc20212766.

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Can you change your thoughts by changing your words? Do you have an obligation to speak the truth, even a politically incorrect one? In this work of philosophical short fiction, the narrator is a government approved writer. His job is to update published works by deleting words that have been made illegal; words like Easter, retard, and faggot. Words that might offend anyone. The narrator leaves his office to pick up the newest edition of the Bureau’s Book Of Approved Words. Of course, in getting the new edition, he must turn in the old edition. The narrator goes home, frustrated. Each year, i

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Sokol, Augustín, and Jozefa Pevčíková. "Animal symbolism in works of H. P. Lovecraft." Ars Aeterna 13, no. 3 (2021): 42–56. http://dx.doi.org/10.2478/aa-2021-0016.

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Abstract Howard Phillips Lovecraft is widely considered to be one of the most influential writers of modern horror fiction and one of the main pioneers of the genre in its current form. One of the less discussed attributes of his work is his use of animal symbolism, despite how common it is, and serves several important functions. We will examine the different forms of animal symbolism in Lovecraft’s writing, their use and their respective functions. Our main goal will be to examine how animal symbolism in Lovecraft’s work was influenced by cultural and mythological sources and his own opinion

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30

Mr., P. Balamuthukumaran. "An Analysis of Cyber Terminologies in William Gibson's Neuromancer." Literary Druid 6, no. 1 (2024): 7–11. https://doi.org/10.5281/zenodo.10901361.

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<em>In a language, Letters, Words and Sentences form a complete language. Apart from spoken and written, some other types of communication are also considered as a language. A novel a play or a movie can be conveyed through language only. The presence of language has a heavy influence on creative work. For e.g. Film directors communicate with the audience through movies. It is not only about the dialogue but the form of visual language and storytelling. This is how the global audience can understand the perfect plot of a great movie without any subtitles. This shows the power of a language but

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Kadirova, Durdona Dilshadovna. "THE MAIN PECULIARITIES OF LITERATURE DURING VICTORIAN PERIOD." PEDAGOGS international research journal 5, no. 1 (2022): 414–21. https://doi.org/10.5281/zenodo.6363074.

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The given article pays a great attention on the highlighted elements of Victorian  period and literature. Rise of education and public literacy, development of novel  genre,  serialization  of  works  in  prose  and  poetry,  improvement  of  children’s  literature, the existence of sensation and industrial novels, Social Realism, The New  Woman Fiction were the most obvious features of the period. The appearance of The  New Woman in novels caused women to understand their rights and they began to  play an im

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32

Hedrick, Donald. "Advantage, Affect, History, Henry V." PMLA/Publications of the Modern Language Association of America 118, no. 3 (2003): 470–87. http://dx.doi.org/10.1632/003081203x47778.

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Shakespeare's Henry V explores historiographic moments—relations among past, present, and future in memory, writing, and action. Advantage, Shakespeare's early capitalist term for highest return from least outlay, links historiography to war work, theater work, and love, theorized as “affective labor.” The play figures history not so much as fiction but rather in Walter Benjamin's terms as an achievement depending on the epistemic reliability of disadvantaged historians in danger, who rescue or recruit the dead and maximize affect. Falstaff's reported death reveals, through his friends' disput

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Allen-Paisant, Jason. "Reading Wilson Harris with Gilles Deleuze: Carnival, or the novel as theatrical space." Journal of Commonwealth Literature 55, no. 2 (2018): 294–308. http://dx.doi.org/10.1177/0021989418767492.

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This article is an attempt at reading Wilson Harris with Gilles Deleuze, considering how the latter’s writings on the image might produce a fresh understanding of Harris’s art of fiction. To do this, I highlight the interest that both Harris and Deleuze have in the theatre as a medium for illustrating their conception of the image in language and thought. Discussing mainly the novel Carnival, I show how Harris assimilates narrative to the theatrical medium itself as both a concrete and abstract space of spontaneous multiplicity, and relate this to Deleuze’s understanding of the image and of th

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34

Sidnell, Michael J. "Used Words." Canadian Theatre Review 75 (June 1993): 4–7. http://dx.doi.org/10.3138/ctr.75.001.

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On stage and off, performance and signification are the two inextricable functions of words. The re-discovery of the generally performative functions of language gave rise to Speech Act Theory just a few decades ago but, on different terms, verbal performativeness has been known to poetics from antiquity. Since then, literature has usually been supposed to be a social practice that privileges the performative use of words in ways somewhat different from such non-literary performatives as contracts, threats, sales pitches, greetings, and so on. In non-literary usages, performances are the effec

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Kharchenko, Oleg. "LITERARY JOURNALISM. PUBLIC SPEECHES. BIBLICAL MOTIFS." Scientific Journal of Polonia University 49, no. 6 (2022): 35–46. http://dx.doi.org/10.23856/4905.

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This article focuses its attention on the functioning of the biblical motifs in American fiction and their penetration in American public speeches and non-fiction through literary journalism techniques. The findings of this work illustrate that biblical motifs and religious lexicon as a whole have been used steadily in the speeches of all U.S presidents. Taking into account that the majority of Americans (73%) relates to Christians, the biblical motifs belong to important rhetorical and stylistic tools of all U.S. presidents in their search for the support of voters. Since Ronald Reagan (1981-

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González Cruz, Maria Isabel. "Exploring the dynamics of English/Spanish codeswitching in a written corpus." Revista Alicantina de Estudios Ingleses, no. 30 (December 15, 2017): 331. http://dx.doi.org/10.14198/raei.2017.30.12.

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This investigation is part of a much larger ongoing research project which approaches a corpus of popular romance fiction novels from a multidisciplinary perspective. The paper focuses on the usage of Spanish words and expressions in the English written discourse of two samples of romances taken from the corpus we are compiling for Research Project FFI2014-53962-P. When analyzing the occurrences of Hispanicisms in the samples, we will specifically address the issues of both their forms and the different socio-pragmatic functions that these cases of language switching seem to play. It is only r

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Rheingold, Hugh M. "Possibilities Lost: Transcendental Declarations of Independence in Hawthorne's The Blithedale Romance." Prospects 26 (October 2001): 61–89. http://dx.doi.org/10.1017/s0361233300000879.

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The Blithedale Romance occupies a unique position in the Haw-thorneian corpus for at least two reasons: Hawthorne's use of a first-person narrator and his decision to base, albeit loosely, the fictional Blithedale on his experiences as a resident at Brook Farm, an actual Utopian community founded by the transcendentalist minister George Ripley in 1841. If The Blithedale Romance constitutes a new point of departure for Hawthorne's fictional project, it is nevertheless a point of departure that Hawthorne, in particular in his prefaces, had contemplated all along. Hawthorne's fidelity to a new ki

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Ryu, Dongwan. "Play to Learn, Learn to Play: Language Learning through Gaming Culture." ReCALL 25, no. 2 (2013): 286–301. http://dx.doi.org/10.1017/s0958344013000050.

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AbstractMany researchers have investigated learning through playing games. However, after playing games, players often go online to establish and participate in the online community where they enrich their game experiences, discuss game-related issues, and create fan-fictions, screenshots, or scenarios. Although these emerging activities are an essential part of gaming culture, they have not attracted much attention from researchers and only a few empirical studies have been done on learning through beyond-game culture. Language learning in particular has not been extensively researched despit

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Krylova, Snezhana V. "Man and time in Tatiana Moskvina’s epistolary play Proklyataya Lyubov’ (on the author’s strategies)." Tekst. Kniga. Knigoizdanie, no. 34 (2024): 38–49. http://dx.doi.org/10.17223/23062061/34/4.

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The article justifies that, using well-known dramatic techniques, Tatyana Moskvina was able to create an original type of an “epistolary play” on documentary material. The material for her was the correspondence of the actress Angelina Stepanova and the playwright Nikolai Erdman, Stepanova's memories, and Erdman's texts. All this was carefully selected. Moskvina saw and highlighted in these documents symbolic details that were enlarged in the play due to repetitions, leitmotifs, and comments of the Human Note (a character introduced into the composition to explain historical and biographical r

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BABELYUK, Oksana, Olena KOLIASA, and Valeriia SMAGLII. "Language Means of Revealing Postmodern Ludic Absurd in English Literary Text." WISDOM 20, no. 4 (2021): 166–79. http://dx.doi.org/10.24234/wisdom.v20i4.531.

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The fiction politics of contemporaneity reflects diversified patterns of language forms and their func- tions. This has brought to life experimental (postmodernist) writing the key principles of intertextuality, fragmentation, destruction, play. Postmodernist aesthetics caused a blurring of traditional genre canons that led to contamination of syncretic genre compounds through a grotesque transformation of traditional genre models and created an „estrangement? effect. The phenomenon of ludic absurd is viewed in three as- pects: 1) linguo-philosophical; 2) cognitive; 3) poetic. The present stud

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Özsevgeç, Yıldırım. "Erased and Displaced Identities in S.J. Watson’s Before I Go to Sleep." Journal of Literature and Humanities, no. 72 (June 12, 2024): 86–94. http://dx.doi.org/10.55590/literatureandhumanities.1460951.

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Steve J. Watson was born in England in 1971. Watson, who worked as an audiologist in the NHS before starting his writing career, had the opportunity to closely observe the characters’ lives, which would be the subject of his works in the hospital where he worked. Based on the lives of Henry Gustav Molaison and Clive Wearing, both of whom have long-term memory problems Before I Go to Sleep was published in 2011. Molaison and Wearing’s years of illness had a profound effect on Watson. Similarly, Christine, the novel’s protagonist, also suffers from Molaison and Wearing syndrome. Waking up every

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Fumagalli, Maria Cristina. "“Not walled facts, their essence”: Derek Walcott’s Tiepolo’s Hound and Camille Pissarro." Journal of Commonwealth Literature 55, no. 3 (2018): 421–32. http://dx.doi.org/10.1177/0021989418803656.

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Life writing — a genre which goes beyond traditional biography, includes both fact and fiction, and is concerned with either entire lives or days-in-the-lives of individuals, communities, objects, or institutions — has always played an important role in Derek Walcott’s work. This body of work reaches from Another Life (1973),Walcott’s autobiography in verse, to his last play O Starry Starry Night (2014), where he re-imagines Paul Gauguin and Vincent Van Gogh’s (often tempestuous) cohabitation in the so-called “Yellow House” in 1888 Arles. In Tiepolo’s Hound (2000), Walcott’s life rhymes with t

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Krüger, Lida. "‘Stop Putting Words in my Mouth!’: Undermining the Binary between the Actual and the Fictional." New Theatre Quarterly 32, no. 3 (2016): 244–55. http://dx.doi.org/10.1017/s0266464x16000221.

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The distinction between fictionality and actuality takes on a special significance in the theatre, which contains two frames simultaneously: a fictional and an actual. Although the presence of these frames is integral to performance, the demarcation between them often becomes blurred. Both Tom Stoppard's The Real Thing (1982) and Sam Holcroft's Edgar and Annabel (2011) problematize the relationship between an actor and the character that he or she portrays. While Stoppard's characters sometimes indulge in fictional portrayals, Holcroft's embody additional characters out of a sense of duty and

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Connor, Victoria. "Rewriting the Past: Gerard Mannix Flynn’s Nothing to Say and James X." Review of Irish Studies in Europe 1, no. 1 (2016): 107–21. http://dx.doi.org/10.32803/rise.v1i1.1264.

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If, as Anne Whitehead suggests, the term ‘trauma fiction’ represents a paradox, that violence resists containment through language, then writers who engage and attempt to represent traumatic events in their work can never fully render the horror of trauma through their writing. Yet artists such as Gerard Mannix Flynn, a survivor of trauma himself, still attempt to translate the experience of trauma into language. In the novel Nothing to Say and the play James X, Flynn explores the ways in which trauma is both experienced and recalled and the cathartic effects that ‘containing’ trauma through l

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Eshimov, M. P., S. R. Nurtileuova, and S. K. Kulmanov. "NON-VERBAL COMPONENTS OF COMMUNICATION: SIMILARITIES AND DIFFERENCES." Tiltanym 86, no. 2 (2022): 16–25. http://dx.doi.org/10.55491/2411-6076-2022-2-16-25.

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The article examines the similarities and differences between the non-verbal techniques used in communication. At the same time, the meaning of a number of the nonverbal techniques used in context is defined. Non-verbal communication is realised through the use of different body parts, carrying a certain semantic sense. For example, nodding means greeting and saying goodbye, as well as disagreeing and being surprised. In communication, such gestures are often used in everyday life. Indeed, a person cannot communicate without using gestures when communicating, because non-verbal components are

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Hayat, Umar, Qaisar Waheed, and Nasir Iqbal. "The Fall of Macbeth: A Psychological Inquiry into the Case of Corrupting Power." Global Language Review VI, no. III (2021): 113–21. http://dx.doi.org/10.31703/glr.2021(vi-iii).12.

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The research paper investigates how authority, power, and position are the words that denote the god-like status of a person in the world and it has often been seen that when people come to power, they face the temptation of abusing their power for the achievement of unrestrained personal desires. This research is qualitative research carried out within the framework of Renaissance literature and its link with psychological reflections upon Renaissance fiction and history. It is premised upon an explanatory and interpretative analysis of the chosen text Macbeth. The present study aims to explo

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Caliendo, Giuditta. "Italy’s other Mafia." Sociological Turn in Translation and Interpreting Studies 7, no. 2 (2012): 191–211. http://dx.doi.org/10.1075/tis.7.2.06cal.

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Following its translation into more than thirty languages, Roberto Saviano’s non-fiction novel Gomorrah [Gomorra], has unveiled to a vast number of readers across the globe the endless saga of Naples’ crime syndicate, the Camorra (from which the book’s title derives its bitter play on words). Literary critics and reviewers in the UK and in the U.S. have widely acclaimed Saviano’s talent in depicting the corruption plaguing Naples’ gloomy and degraded hinterland, although the sociocultural context portrayed in Gomorrah is naturally distant from the repertoire of the target culture: the text is

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Mallillin, Leovigildo Lito D. "Contemporary Literature Genre in the 21st Century: Basis for Pedagogical Teaching and Writing." PUSAKA: Journal of Educational Review 2, no. 1 (2024): 98–116. https://doi.org/10.56773/pjer.v2i1.58.

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The study aims to navigate contemporary literature genres in the 21st century as a basis for pedagogical teaching and writing. Mixed methods and purposive sampling are utilized in selecting the study's sample to obtain fifty (50) respondents. Results show that contemporary literature genre in the 21st century as a basis for pedagogical teaching and writing defines genre of fiction in every short story with no set of words on traditional flash stories, show that contemporary novel is written at present and discusses about the genre of life, show that poetry evokes on the response of the languag

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Buckland, Adelene. "“Pictures in the Fire”: the Dickensian Hearth and the Concept of History." Articles, no. 53 (May 12, 2009): 0. http://dx.doi.org/10.7202/029902ar.

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Abstract At the symbolic centre of every Dickens novel is the roaring fire of a domestic hearth. Readers of Dickens frequently related clustering in familial groups around a fireplace, sharing in the fire’s uncertain pools of light and warmth while they read the text aloud. And within the texts themselves, the Dickens fireside has been seen as an idyllic space of conflict resolution: as Alexander Welsh has put it, “if the problem that besets” Dickens “can be called the city, his answer can be named the hearth.” This essay seeks to remember the materiality of the fireside alongside its more sym

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Melić, Katarina. "MÉMOIRES D’HADRIEN DE MARGUERITE YOURCENAR : ENTRE AUTOBIOGRAPHIE FICTIVE ET ÉCRITURE DE L’HISTOIRE." Nasledje, Kragujevac XX, no. 54 (2023): 79–88. http://dx.doi.org/10.46793/naskg2354.079m.

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The current paper focuses on the literary mechanisms that Marguerite Yourcenar used to (re)construct the historical personality of the Roman emperor Hadrian in the fictional autobiography, Memoirs of Hadrian. We analyze how M. Yourcenar represents an effort to reconstruct a historical period and a historical personality through the intersection of true events and fiction in the form of a fictional autobiography, supported by documentary work, in this particular novel. Hadrian’s imaginary letter to his protégé and student, the future emperor Marcus Aurelius, is not only a writing of ancient his

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