Academic literature on the topic 'Reminiscing – fiction'
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Journal articles on the topic "Reminiscing – fiction"
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Podmaková, Dagmar. "Alexander Dubček Twice – An (Un)Known Side of Him." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 242–66. http://dx.doi.org/10.2478/sd-2018-0015.
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Abstract The authoress, using two visual works, i.e. theatre production #dubček and film Dubček (both 2018), compares two different approaches to and forms of the work with the personality of Alexander Dubček against the backdrop of the reforms and political upheaval in Czecho-Slovakia1, in 1968. Theatre production #dubček (Aréna Theatre, Bratislava, direction Michal Skočovský) has three levels. The first one is acting game having the form of a rehearsal of a new text about the politician Alexander Dubček; its component part is the projection of period archival film shots. The second level involves the actors stepping out of characters and commenting on Dubček’s attitude and on historical events. The third level entails monologue scenes, in which actors reveal their personal attitudes via narrated stories at the time of normalization2 which had a negative impact on the lives of hundreds of thousands of people. In the film Dubček (Slovak-Czech co-production, direction Ladislav Halama), through Dubček’s reminiscing the past, political events interweave with the scenes from the life of Dubček’s family. Although both the works employ period image documentary material and fiction, they fail to create a dramatic conflict and they are illustrative for the bigger part.
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Masson, Sophie. "No Traveller Returns: The Liminal World as Ordeal and Quest in Contemporary Young Adult Afterlife Fiction." Papers: Explorations into Children's Literature 26, no. 1 (January 1, 2018): 60–81. http://dx.doi.org/10.21153/pecl2018vol26no1art1090.
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In recent years, fiction specifically set in or about the afterlife has become a popular, critically acclaimed subgenre within contemporary fiction for young adults. One of the distinguishing aspects of young adult afterlife fiction is its detailed portrayal of an alien afterworld in which characters find themselves. Whilst reminiscent of the world-building of high or quest fantasy, afterworlds in young adult afterlife fiction have a distinctively different quality, and that is an emphasis on liminality. Afterlife landscapes exhibit many strange, treacherous qualities. They are never quite what they seem, and this sense of a continually shifting multiplicity is part of the destabilisation experienced by the characters in the liminal world of the afterlife. Inspired by traditional but diverse images of afterlife, afterworld settings also incorporate aspects of dream-space as well as of the real, material world left behind by the characters. The uncanny world of the dead is not just background in these novels, but crucial to the development of narrative and character.
In this paper, it is argued that the concept of liminal place is at the core of the central ordeal and quest of characters in young adult afterlife fiction. It explores how authors have constructed the individual settings of their fictional afterworlds and examines the significance of the liminal nature of the afterworlds depicted in young adult afterlife fiction.
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Rarytskyi, O. A. "ALLUSIVE AND REMINISCENT COMPONENTS IN THE DOCUMENTARY FICTIONAL PROSE OF THE SIXTIERS." Collection of scientific works "Visnyk of Zaporizhzhya National University. Philological Sciences" 2, no. 1 (2020): 155–59. http://dx.doi.org/10.26661/2414-9594-2020-1-2-21.
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Kochanowicz, Rafał. "Fantastyka Antoniego Smuszkiewicza." Literatura i Kultura Popularna 28 (October 6, 2022): 9–20. http://dx.doi.org/10.19195/0867-7441.28.1.
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The article is of a review and reminiscent nature. It presents the profile and scientific activity of one of the most outstanding Polish researchers of fantasy literature — Professor Antoni Smuszkiewicz. The Professor’s works — books, articles, monographs — defined Polish fantasy not only in strictly literary studies, but also in the social dimension. Antoni Smuszkiewicz collaborated with the Polish fandom for many years and was recognized in the community of fantasy writers and lovers of this genre as the greatest authority in Poland. His Enchanted Game: An Outline of the History of Polish Science Fiction remains the only historical and literary study of phenomena and tendencies in the field of Polish science fiction. Literature for children remains the second passion of Antoni Smuszkiewicz, who for many years was a Polish language teacher. Professor Smuszkiewicz — gifted with an extraordinary didactic talent — not only analyzed and discussed this literature, but also taught how to discuss it with students. The research concepts of Antoni Smuszkiewicz, despite the passage of time, still find their functional application, both in the field of literary studies and in game studies.
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WURZMAN, RACHEL, DAVID YADEN, and JAMES GIORDANO. "Neuroscience Fiction as Eidolá: Social Reflection and Neuroethical Obligations in Depictions of Neuroscience in Film." Cambridge Quarterly of Healthcare Ethics 26, no. 2 (November 17, 2016): 292–312. http://dx.doi.org/10.1017/s0963180116000578.
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Abstract:Neuroscience and neurotechnology are increasingly being employed to assess and alter cognition, emotions, and behaviors, and the knowledge and implications of neuroscience have the potential to radically affect, if not redefine, notions of what constitutes humanity, the human condition, and the “self.” Such capability renders neuroscience a compelling theme that is becoming ubiquitous in literary and cinematic fiction. Such neuro-SciFi (or “NeuroS/F”) may be seen as eidolá: a created likeness that can either accurately—or superficially, in a limited way—represent that which it depicts. Such eidolá assume discursive properties implicitly, as emotionally salient references for responding to cultural events and technological objects reminiscent of fictional portrayal; and explicitly, through characters and plots that consider the influence of neurotechnological advances from various perspectives. We argue that in this way, neuroS/F eidolá serve as allegorical discourse on sociopolitical or cultural phenomena, have power to restructure technological constructs, and thereby alter the trajectory of technological development. This fosters neuroethical responsibility for monitoring neuroS/F eidolá and the sociocultural context from which—and into which—the ideas of eidolá are projected. We propose three approaches to this: evaluating reciprocal effects of imaginary depictions on real-world neurotechnological development; tracking changing sociocultural expectations of neuroscience and its uses; and analyzing the actual process of social interpretation of neuroscience to reveal shifts in heuristics, ideas, and attitudes. Neuroethicists are further obliged to engage with other discourse actors about neuroS/F interpretations to ensure that meanings assigned to neuroscientific advances are well communicated and more fully appreciated.
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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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Nguyên-Quang, Trung. "“No Man Is an Island”: On Fragmented Experiences in Zadie Smith’s NW 2012." Anglica Wratislaviensia 56 (November 22, 2018): 77–85. http://dx.doi.org/10.19195/0301-7966.56.6.
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Published in 2012, Zadie Smith’s NW appears to break with the aesthetics of On Beauty 2005, her Booker Prize shortlisted novel: abandoning the linearity of traditional story-telling of which On Beauty partook, NW displays a formal fragmentation that allows the narrative to jump back and forth from one point of view to another, one time period to another, and this with no apparent rationale. Indeed, the novel weaves together the threads of four different narratives seen through four different characters, its structure thus fragmented into seemingly disparate subplots and timelines, as though it were taking to task the linearity of time itself. Through the analysis of the various fragmentary modes in NW, this paper wishes to contend that, while it may first appear to be a challenge to the congruence of plot, one that is reminiscent of the postmodernist taste for discontinuity and experimentation, this writing commitment for fragmentation is fundamentally a political stance in Smith’s fiction. By deconstructing the linear fabric of plot, NW seems to argue that experience — whether it be cultural, political, social or individual — is multifarious and ever-shifting, and thus can only be accounted for by discursively espousing its fragmentary nature. Therefore, the multiplication of subject-positions, the refusal of monologic narratives, as well as the eschewal of linearity in NW must be understood as rebuttals of a reality conceived of unilaterally, or normatively defined. In other words, my argument is that, in NW, the poetics of fragmentation is a politics of authenticity, since it is only through the representation of fragmented experiences that fiction can have any claim on realism.
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Phipps, Gregory. "Breaking into the Foam: Peter Sloterdijk's Philosophy of Dwelling and Richard Stark's Parker Novels." Crime Fiction Studies 2, no. 1 (March 2021): 48–62. http://dx.doi.org/10.3366/cfs.2021.0033.
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This article brings together the crime fiction novels of Richard Stark (a pseudonym of Donald Westlake) and the philosophical ideas of Peter Sloterdijk. Influential and yet critically neglected, Stark's ‘Parker novels’ feature an amoral and unchanging thief named Parker who infiltrates and exploits an array of settings for his criminal activities. Two of the main recurring situations in these novels involve Parker either breaking into and searching the home of a rival or using an empty home as a temporary hideaway. This article argues that Parker's approach to homes invokes elements in Sloterdijk's theorization of dwellings, including his broad theory that contemporary Western society is arranged in a manner reminiscent of bubbles in a ‘mountain of foam’, as well as his specific ideas about how contemporary dwellings function as spheres that aim for both individualistic privacy and access to mobile networks. The article draws upon these theories to explore how Stark's novel Flashfire represents Parker's attempts to establish a private sphere for his own use in Palm Beach, Florida, a process which ultimately exposes the limits of the ‘foam’ that composes his world of heists and brutal practicality.
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Lönroth, Linn. "‘I don’t have a skull… Or bones’: Minor Characters in Disney Animation." Animation 16, no. 1-2 (July 2021): 36–50. http://dx.doi.org/10.1177/17468477211025666.
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This article explores the place of minor characters in Disney’s animated features. More specifically, it proposes that Disney’s minor characters mark an aesthetic rupture by breaking with the mode of hyperrealism that has come to be associated with the studio’s feature-length films. Drawing on character theory within literary studies and on research into animated film performance, the article suggests that the inherent ‘flatness’ of Disney’s minor characters and the ‘figurativeness’ of their performance styles contrasts with the characterizations and aesthetic style of the leading figures. The tendency of Disney’s minor characters to stretch and squash in an exaggerated fashion is also reminiscent of the flexible, plasmatic style of the studio’s early cartoons. In addition to exploring the aesthetic peculiarity of minor characters, this article also suggests that these figures play an important role in fleshing out the depicted fictional worlds of Disney’s movies. By drawing attention to alternative viewpoints and storylines, as well as to the broader narrative universe, minor characters add detail, nuance and complexity to the animated films in which they appear. Ultimately, this article proposes that these characters make the fairy-tale-like worlds of Disney animation more expansive and believable as fictional spaces.
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Esaki, Brett J. "Ted Chiang’s Asian American Amusement at Alien Arrival." Religions 11, no. 2 (January 22, 2020): 56. http://dx.doi.org/10.3390/rel11020056.
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In the 2016 movie Arrival, aliens with advanced technology appear on Earth in spaceships reminiscent of the black obelisk in 2001: A Space Odyssey. The film presents this arrival as a serious problem to be solved, with the future of human life and interplanetary relationships in the balance. The short story, “Story of Your Life” by Ted Chiang, on which the film was based, takes a different, amusing route that essentially depicts an ideal vision of the era of colonialism. To articulate this reading, this article will compare Chiang’s science fiction (SF) to the genre in general and will take Isiah Lavender III’s positionality of otherhood to reveal how Chiang’s work expresses a Chinese American secular faith in a moral universe. It will analyze the narrative form in Chiang’s collection, Stories of Your Life and Others, and will use it to compare the prose and film versions of “Story of Your Life.” It will also explain how Chiang may be using a nonlinear orthography and variational principles of physics to frame multileveled humor. It utilizes theories of humor by John Morreall and analyses of Chinese American secularity by Russell Jeung and concludes that Chiang’s work reflects concerns and trends of Asian Americans’ secularized religions.
Books on the topic "Reminiscing – fiction"
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Handke, Peter. Zwiegespräch. Berlin: Suhrkamp, 2022.
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Tatia, Mike. Mahem Mike: Before Silicon Valley. Dexter, MI: William Charles Publishing, 2014.
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Berg, Elizabeth. The last time I saw you: A novel. New York: Random House Large Print, 2010.
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Liberati, Simon. Anthology of apparitions. London: Pushkin, 2005.
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Liberati, Simon. Anthologie des apparitions: Roman. Paris: Flammarion, 2004.
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Anthology of apparitions. London: Pushkin, 2005.
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Berg, Elizabeth. The last time I saw you: A novel. New York: Random House, 2010.
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Berg, Elizabeth. The Last Time I Saw You. New York: Random House Publishing Group, 2010.
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Berg, Elizabeth. The last time I saw you: A novel. New York: Random House, 2010.
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Berg, Elizabeth. The last time I saw you: A novel. New York: Random House, 2010.
Find full textBook chapters on the topic "Reminiscing – fiction"
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Andrén, Ella. "The Dark Past of Our Bright Future: Concurrent Histories of Star Trek: Voyager." In History and Speculative Fiction, 169–88. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-42235-5_9.
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AbstractThe Star Trek franchise is frequently described as utopian, the bright future of humanity, Earth, and the universe. The time and society of the Starfleet explorers is said to have overcome issues of inequality, racism, sexism, hunger, war, capitalism, greed, and environmental problems. This is at the same time a radical fantasy of the future and an artistic and commercial product of our own time. In their travels across the galaxy, the Starfleet explorers also encounter different civilizations, often depicted or even described as reminiscent of various time periods of Earth’s history. Here, our imagined future can meet a metaphorical past, a piece of well-known history made Other. In this way, past, present, and future exist concurrently, and the past is made both vivid, close and alien.
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Ferguson, Rex. "Introduction." In Identification Practices in Twentieth-Century Fiction, 1–28. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198865568.003.0001.
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During the long second part of Robert Musil’s The Man Without Qualities (1978), entitled ‘Pseudoreality Prevails’, Ulrich, the novel’s protagonist, intervenes when he witnesses the police’s manhandling of a drunken stranger. Promptly arrested and taken to the nearest police station, Ulrich’s subjection to naked state power is felt not simply in terms of his physical coercion but also in the more subtle forms of a reduced agency rendered by the architecture and atmosphere of his location. He finds the station reminiscent of an ‘army barracks’, for example, and recognizes the ‘heavy intimation that here one was expected to wait, without asking questions’....
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Carter, David. "Introductory Remarks." In Inception, 7–8. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325055.003.0001.
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This introductory chapter provides an overview of Christopher Nolan's Inception (2010). Inception blurs the distinctions between various genres. It is considered as science fiction although it does not contain many of the elements associated with the genre. It can also be identified as a kind of heist film, and the first part of the film, the extraction, certainly involves a complex robbery; but then the second part of the film, while having many of the trappings of a heist, involves putting something into a heavily guarded location rather than stealing from it. Moreover, the heist motifs and the film's character types are reminiscent of film noir. Inception can also be described as a psychological thriller and it deals with the subject of time and how dreams are related to the conscious and unconscious mind.
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Bogdanova, Olga A. "Landowner’s Estate as the Topos of Religious Revolution in Z.N. Gippius’ Fiction." In Merezhkovskys’ Circle: On the Occasion of the 150th Anniversary of Z.N. Gippius, 126–39. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0679-6-126-139.
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Events in the novel Roman-Tsarevich by Z.N. Gippius are set in the 1910s on the territory of country estates in different parts of Russia, as well as in a Western European castle-dacha near the Pyrenees, where Russian revolutionaries live in exile. The discovery of Gippius is that in the field of “estate topos” she found a meaning that goes back to the activities of the Decembrists — noble revolutionaries of the first quarter of the 19th century, often large landlords. The “estate topos” appears in Roman-Tsarevich as the topos of the Russian religious revolution in a number of local variations. The ideological and artistic circulation between its three loci unites the Western European castle, reminiscent of the Enlightenment’s roots of the Russian “estate culture” with its ideal of free personality, a noble mansion of the Golden Age, which brings Russia’s first apostles of religious revolution (S.I. Muraviev-Apostol, etc.), and eclectical intellectual-landowner’s estate house of the Silver Age, which inhabitants are under the evil power of the Antichrist from the revolution. At the same time, they retain the ability to break the fatal circle due to a heterotopic connection with the other two estate projections presented in the novel.
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Williams, Hamish. "Minoan Utopias in British Fiction, after the Thalassocracy: Lawrence Durrell’s The Dark Labyrinth and Robert Graves’ Seven Days in New Crete." In The Ancient Sea, 247–68. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781802077605.003.0013.
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This chapter examines British reimaginations of Minoan Crete. Sir Arthur Evans created a mythical vision of a utopian sea empire, reminiscent of Victorian Britain. But how did subsequent British writers of this period reflect on and reimagine the Minoan-Victorian utopia which Arthur Evans had so steadfastly constructed? The argument of this chapter is that the tragedy of the Minoans and the Minoan Empire, remembered as a pre-Classical, often ‘utopian’ seafaring empire ended by a sudden catastrophe, have provided an analogical means for British writers and thinkers to express a growing sense of their own post-imperial identity, of their residing in a tragic time after Pax Britannica/Pax Minoica. To this end, the focus is on three novels in British popular fiction in the late 1940s and 1950s: Lawrence Durrell’s The Dark Labyrinth (1947), Robert Graves’ Seven Days on New Crete (1949), and Mary Renault’s The King Must Die (1958).
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Freeman, Ray. "Introduction." In Magnetic Resonance in Chemistry and Medicine, 1–12. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199260614.003.0001.
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Abstract If the man in the street has heard about magnetic resonance at all it is probably in the context of the ‘MRI scanner’, a large and expensive piece of equipment used to diagnose medical problems associated with the vital internal organs-the heart, brain, liver, kidney, etc. In his mind, he might well associate this machine with the earlier X-ray device, sometimes called the CT (computer-aided tomography) scanner. If ever he needs medical examination with a magnetic resonance scanner, he will be relieved to learn that it is a ‘non-invasive’ technique, in the sense that it does not involve the more usual exploratory surgery with a sharp knife. He should also feel reassured, because no ionizing radiation is involved, in contrast to X-ray procedures. To the medical fraternity X-ray scanning and magnetic resonance imaging are usually grouped under radiology, and they occupy the high technology end of medical practice, reminiscent of the wizardry visualized in certain science fiction films.
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Leeder, Murray, and Murray Leeder. "A Very Sinister Doctor and a Cosmic Monster." In Halloween, 83–94. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733797.003.0006.
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This chapter focuses on the character of Dr. Sam Loomis, Michael Myers's psychiatrist. Loomis's only accomplishments in the film Halloween (1978) are entirely outside of his training as a psychiatrist, and may even run counter to it. Terms like ‘psychopath’, ‘schizophrenic’, and ‘neurotic’ appear nowhere in Halloween, and even ‘catatonic’ appears only in the extended television cut. All of Loomis's therapeutic methods have not allowed him to understand, let alone help, Michael, and the psychiatric establishment around him has done little to recognise and prepare for the threat that he rightly feels Michael represents. Loomis provides a link to another tradition of horror fiction, in which doctors and scientists investigate and confront monsters and supernatural phenomena. His character is also reminiscent of the tormented scholars who prove to be some of the more capable protagonists in H.P. Lovecraft's short stories. Though John Carpenter's work is probably more dependent on a ‘homocentric’ worldview than Lovecraft, Lovecraft's mode of cosmic indifferentism provides a framework for addressing the old question of what motivates Michael, while reconsidering the film within the generic framework of cosmic horror.
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Peterson, Anna. "A Menandrian Interlude." In Laughter on the Fringes, 143–50. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190697099.003.0006.
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Alciphron’s collection of 123 fictional letters recreate in miniature the world of Menandrian New Comedy. Three of these letters, however, involve a basic scenario that is reminiscent of Clouds: disputes between a father and son and, in one case, a hetaira and her lover, regarding the corrupting influence of philosophers. Language borrowed directly from Aristophanes’s play further cements this connection. In this context, Old Comedy is subsumed into a New Comic context, and Clouds emerges as a literary shorthand for denoting corrupt philosophers. Yet the epistolary format also provides Alciphron with a way to recreate the dramatic elements of the original play: his readers are given unfettered access to the characters and are asked to fill in what is left unsaid by the letter from their knowledge of Aristophanes’s play.
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Di Summa, Laura T. "Clouds of Sils Maria." In Metacinema, 155–72. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.003.0008.
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In a way that is reminiscent of Luigi Pirandello’s take on character impersonation, Clouds of Sils Maria (2014, dir. Olivier Assayas) plays with the history of film, with the layering of performances, crossing theater and film, actors and characters. This chapter focuses on how the duo Binoche / Maria Enders encourages a reflection on metacinema by questioning what it means to be a character, to create one for ourselves, and to assess the very viability of such a creation. More narrowly, the chapter argues that Clouds of Sils Maria is capable of adding a significant contribution to the debate, within analytic aesthetics, on the advantages and the dangers of seeing our lives as narratives. For while watching the feature may prompt an agreement with Peter Lamarque’s criticism of the “narrative view,” which highlighted how a “story-like” narration of our lives might transform nonfictional, factual events into fictional ones, we are also reminded of how such a crafted and constructed rendition of facts may ultimately be inevitable.
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Kim, Steven. "Attributes of Creativity." In Essence of Creativity. Oxford University Press, 1990. http://dx.doi.org/10.1093/oso/9780195060171.003.0005.
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As discussed in the previous chapter, the term problem is used in a general sense to refer to any task that requires resolution. These tasks may range from solving a mathematical problem to formulating a business strategy, from generating an engineering prototype to conceiving an artistic design. A problem is called easy if the identification of an acceptable solution is straightforward. The label of easiness refers to the generation of the solution rather than its implementation. According to this view, finding the average value of a thousand numbers is as easy as calculating the mean of two values, since the procedure is equally straightforward. In contrast, a hard or difficult problem is one whose resolution is not readily discernable. A common source of difficulty lies in the fact that the ultimate objective is not known a priori. This situation is reminiscent of the fictional detective rummaging through a ransacked house. “What are you looking for?” asks his companion. “I don't know—but I'll know it when I find it!” In a more sedate context, the same situation applies to an investigator who wants to develop a science of manufacturing but cannot specify beforehand the nature of such a discipline. Manufacturing is one arena which until recently was regarded as a domain so complex that it would remain only an art rather than a science. A second and perhaps more prevalent difficulty in resolving a problem relates to the route rather than the destination: the desired objective may be known, but not its means of attainment. This situation occurs when an automotive engineer must design an electric car that can travel over 1000 kilometers between battery recharges. It also occurs when a federal committee must develop a policy to contain the outbreak of a new epidemic: it is not clear to what extent emphasis should be placed on public education, medical research, governmental regulation, or other mechanisms for prevention and redress. The resolution of such difficult problems requires a creative approach. In fact, we can summarize the preceding discussion in the following definitions.