Literatura académica sobre el tema "Americans – ethiopia – fiction"

The article is devoted to the Alternative History (AH) genre in fiction and function of the “European Myth” in cryptohistorical writing. The article aims to determine the identity and path of the alternative historical novel in Ukraine and its comparative characteristics at the current stage of modern fiction. The tasks of the study are to determine the ways of European myth functioning in the artistic space of the neomodern AI novel in Ukraine which creates a new genealogical pattern in Ukrainian literary studies. Research methods are subordinate to the aim of the study and tasks. They are comparative, historicalliterary, descriptive, and analytical methods. The metagenre of alternative history has three key aspects, which seem to determine the comparative level of the American and European literature samples within this genealogical formation. These keys are the following: firstly, the story is supposed to completely match the recorded historical and geographical events up until the bifurcation point (in other words, a classic alternative history cannot be based on cryptohistory, hypothesis, fiction, however its background may be folklore or nation mythological heritage or known ancient culture); secondly, the historical figures should play a leading role in the storyline events, especially in the political context; thirdly, the key storyline is expected to relate to the history of a certain human community or civilization on the planet Earth up to the bifurcation point. Apart from the general experience about a different functional role of the time travel method in alternative history novel, we also have a new update, much more distant from the one declared by M. Schneider-Mayerson in 1995, namely, 1889, the year when M. Twain wrote the novel “A Connecticut Yankee in King Arthur’s Court”. However, the novel by M. Twain was criticized due to its monoculturalism in the political worldview. Although all of these details are related to extraliterary factors. If we compare the invariant of American AH, presented for the first time in the novel by M. Twain, we want to talk about cryptohistory in Ukrainian and Western European literature. In his monograph T. Shippey refers to it as a pseudo-history (’Whig history’). It precedes the novelty of this article, which comes to conclusions about common things in the architectonic structure of the European Myth and cryptohistorical writing. That is why we qualify AH as a metagenre, and the political utopia, cryptohistory, allohistory, uchronia, metahistory, political fantasy novels as AH subgenres. One of the most valuable sources of the article is a set of AH novels by M. Twain, P.W.S. Anderson, S. King, V. Baziv, I. Bilyk, M. Brynykh, V. Vladko, V. Danylenko, R. Ivanenko, R. Ivanychuk, M. Kidruk, S. Protsyuk, V. Shevchuk, Ya. Yanovs’kyi, V. Kozhelyanko. To solve the article’s issues we used comparative and descriptive methods. Conclusions. Every metagenre formation itself has separated into individual genres and varieties during the century and accepted different fable schemes of the other genres, in particular canonical ones, such as historical novel, literary, detective novel, chronicle and fantasy. Cryptohistory is a subgenre of alternative history. In its genealogical formula, the actual story exists only theoretically, while the alternative history that forms the plot after the bifurcation point is based on unproven historical sources. It allows more freedom for the author’s imagination, where they may involve two or more bifurcation points. As previously mentioned, the second point of bifurcation would be based on an unreal story that is presented as a true one. Genre markers and plot schemes are identical to alternative history. Though the goal of reconstructing history disappears and is being replaced by other goals: restoration of national and mental mindset elements (V. Kozhelyanko’s “Ethiopian Sich”), humanization of the society (Kir Bulychov “A Reserve for Academics”), psychologization and/or logical construction of the historical course (H. Garrison`s trilogy “West of Eden”, “Winter in Eden”, “Return to Eden”), etc.

The pop cultural moment that most typifies the social psychology of invasion for many of us is Orson Welles's 1938 coast to coast CBS radio broadcast of Invaders from Mars, a narration based on H.G. Wells's The War of the Worlds. News bulletins and scene broadcasts followed Welles's introduction, featuring, in contemporary journalistic style, reports of a "meteor" landing near Princeton, N.J., which "killed" 1500 people, and the discovery that it was in fact a "metal cylinder" containing strange creatures from Mars armed with "death rays" which would reduce all the inhabitants of the earth to space dust. Welles's broadcast caused thousands to believe that Martians were wreaking widespread havoc in New York and Jersey. New York streets were filled with families rushing to open spaces protecting their faces from the "gas raids", clutching sacred possessions and each other. Lines of communication were clogged, massive traffic jams ensued, and people evacuated their homes in a state of abject terror while armouries in neighbouring districts prepared to join in the "battle". Some felt it was a very cruel prank, especially after the recent war scare in Europe that featured constant interruption of regular radio programming. Many of the thousands of questions directed at police in the hours following the broadcast reflected the concerns of the residents of London and Paris during the tense days before the Munich agreement. The media had undergone that strange metamorphosis that occurs when people depend on it for information that affects themselves directly. But it was not a prank. Three separate announcements made during the broadcast stressed its fictional nature. The introduction to the program stated "the Columbia Broadcasting System and its affiliated stations present Orson Welles and the Mercury Theatre on the Air in The War of the Worlds by H.G. Wells", as did the newspaper listing of the program "Today: 8:00-9:00 -- Play: H.G. Wells's 'War of the Worlds' -- WABC". Welles, rather innocently, wanted to play with the conventions of broadcasting and grant his audience a bit of legitimately unsettling, though obviously fictitious, verisimilitude. There are not too many instances in modern history where we can look objectively at such incredible reactions to media soundbytes. That evening is a prototype for the impact media culture can have on an audience whose minds are prepped for impending disaster. The interruption of scheduled radio invoked in the audience a knee-jerk response that dramatically illustrated the susceptibility of people to the discourse of invasion, as well as the depth of the relationship between the audience and media during tense times. These days, the media itself are often regarded as the invaders. The endless procession of information that grows alongside technology's ability to present it is feared as much as it is loved. In the current climate of information and technological overload, invasion has swum from the depths of our unconscious paranoia and lurks impatiently in the shallows. There is so much invasion and so much to feel invaded about: the war in Kosovo (one of over sixty being fought today) is getting worse with the benevolence and force of the UN dwindling in a cloud of bureaucracy and failed talks, Ethiopia and Eritrea are going at it again, the ideology of the Olympic Games in Sydney has gone from a positive celebration of the millennium to a revenue-generating boys club of back scratchers, Internet smut is still everywhere, and most horrifically, Baywatch came dangerously close to being shot on location on the East Coast of Australia. In this issue of M/C we take a look at literal and allegorical invasions from a variety of cleverly examined aspects of our culture. Firstly, Axel Bruns takes a look a subtle invasion that is occurring on the Web in "Invading the Ivory Tower: Hypertext and the New Dilettante Scholars". He points to the way the Internet's function as a research tool is changing the nature of academic writing due to its interactivity and potential to be manipulated in a way that conventional written material cannot. Axel investigates the web browser's ability to invade the text and the elite world of academic publishing via the format of hypertext itself rather than merely through ideas. Felicity Meakins's article Shooting Baywatch: Resisting Cultural Invasion examines media and community reactions to the threat of having the television series Baywatch shot on Australian beaches. Felicity looks at the cultural cringe that has surrounded the relationship between Australia and America over the years and is manifested by our response to American accents in the media. American cultural imperialism has come to signify a great deal in the dwindling face of Aussie institutions like mateship and egalitarianism. In a similarly driven piece called "A Decolonising Doctor? British SF Invasion Narratives", Nick Caldwell investigates some of the implications of the "Britishness" of the cult television series Doctor Who, where insularity and cultural authority are taken to extremes during the ubiquitous intergalactic invasions. Paul Mc Cormack's article "Screen II: The Invasion of the Attention Snatchers" turns from technologically superior invaders to an invasion by technology itself -- he considers how the television has irreversibly invaded our lives and claimed a dominant place in the domestic sphere. Recently, the (Internet-connected) personal computer has begun a similar invasion: what space will it eventually claim? Sandra Brunet's "Is Sustainable Tourism Really Sustainable? Protecting the Icon in the Commodity at Sites of Invasion" explores the often forgotten Kangaroo Island off the coast of South Australia. She looks at ways in which the image of the island is constructed by the government and media for eco-tourism and how faithful this representation is to the farmers, fishermen and other inhabitants of the island. Paul Starr's article "Special Effects and the Invasive Camera: Enemy of the State and The Conversation" rounds off the issue with a look at the troubled relationship between cutting-edge special effects in Hollywood action movies and the surveillance technologies that recent movies such as Enemy of the State show as tools in government conspiracies. The depiction of high-tech gadgetry as 'cool' and 'evil' at the same time, he writes, leads to a collapse of meaning. This issue of M/C succeeds in pointing out sites of invasion in unusual places, continuing the journal's tradition of perception in the face of new media culture. I hope you enjoy this second issue of the second volume: 'invasion'. Ben King 'Invasion' Issue Editor Citation reference for this article MLA style: Ben King. "Editorial: 'Invasion'." M/C: A Journal of Media and Culture 2.2 (1999). [your date of access] <http://www.uq.edu.au/mc/9903/edit.php>. Chicago style: Ben King, "Editorial: 'Invasion'," M/C: A Journal of Media and Culture 2, no. 2 (1999), <http://www.uq.edu.au/mc/9903/edit.php> ([your date of access]). APA style: Ben King. (1999) Editorial: 'invasion'. M/C: A Journal of Media and Culture 2(2). <http://www.uq.edu.au/mc/9903/edit.php> ([your date of access]).

This chapter focuses on two of George S. Schuyler's novellas published serially in the African American newspaper called The Pittsburgh. It talks about “The Ethiopian Murder Mystery: A Story of Love and International Intrigue” and “Revolt in Ethiopia: A Tale of Black Insurrection against Italian Imperialism,” which were both written in response to the Second Italo-Abyssinian War. These novellas interact and engage with the newspaper's propagandistic reportage of the war in provocative ways. Schuyler's fiction mimicked the articles formally, encouraging in the newspaper's readers a fluid reading practice transcending the fictional/nonfictional divide. Schuyler in the 1930s was able to assume his readers' intimate familiarity with the contemporary nation and therefore actively manipulate the newspaper's generic features. In his melodramatic Ethiopian stories, Schuyler exploits the public's fascination with monarchy only to expose, in the end, the ironies behind that misguided sympathy.

This chapter focuses on Pauline E. Hopkins's “Of One Blood” in the context of the African American periodical in which it was serialized, the Colored American Magazine. Published only a few years after the surprising Italian defeat at Adwa, “Of One Blood” contributed to the magazine's project of “documentary Ethiopianism” as expressed in histories and biographies but it also preserved the fantastic conception of Ethiopia that helped create Ethiopianism. “Of One Blood” is exemplary as a fictional text that introduces the mysticism that the historical and ethnographic texts of the Colored American Magazine avoid while still participating in documentary Ethiopianism by sending its characters to Ethiopia. The chapter also discusses how “Of One Blood” activates Regalization Fantasy, which is intrinsic to imperial Ethiopianist ideology. As a result of the fantasy's paradoxical inclusivity and exclusivity, the imperial model of Ethiopianism seen in “Of One Blood” contains the irritant that leads to its own dismantling by mid-century.

Abstract The book concludes with an epilogue that shows how the history of the novels’ readership has shaped our contemporary, scholarly understanding of the ancient genre and how critical attention to some of the oldest questions about the Greek novels can prompt new avenues for their interpretation. On the one hand, the ancient novels’ interests in Egypt and Ethiopia were central to the genre’s earliest Western European readers and interpreters, as they mapped the exploration and colonization of the Americas onto the travels of the ancient novels’ fictional protagonists. On the other, such a comparison shows how the novels’ narratives themselves already resisted the very ideas that they had put in motion.