Literatura académica sobre el tema "Sisters – death – fiction"
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Artículos de revistas sobre el tema "Sisters – death – fiction"
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Derkachova, Olga y Oksana Tytun. "Innovative Approaches to Literary Texts (Children Literature on Inclusion)". Journal of Vasyl Stefanyk Precarpathian National University 7, n.º 1 (21 de abril de 2020): 102–11. http://dx.doi.org/10.15330/jpnu.7.1.102-111.
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The research deals with applying to innovative approaches to literary text. Inclusive books for children and ways of working with them at pedagogical faculties are considered. In our research, we will demonstrate the work with such books “Cripple Bunny and his brave mother” by Oksana Drachkovskaya, “Trustees for the Giraffe” by Oksana Luschevska and Yevhenia Haydamaka, “Just because” by Rebecca Elliott, “Magda and her Wind” by Iryna Morykvas, “Planet Willi” by Birta Müller, “Yes! I can!: The girl and her Wheelchair” KendryJ. Barrett, Jacqueline BiuToner, Kler A. Friland, Violet Limey and the trilogy on Pearl of Tuuli Pere. The main heroes of these books are children with disabilities and special educational needs. Narrators mostly are their elder or younger brothers or sisters. The reason of the choosing children’s literature on inclusion is that it is modern important literature, which demonstrates the world of children with disability and highlights such serious topics as decease and death. Its aim is to show that variety makes world wonderful and grate. The introduction of holographic design of vita technologies (calligarm, creative games, the pyramid of hero and author) is considered as well, the application of methods of critical thinking (mind-mapping, swot-analysis, six hats, Bloom’s taxonomy) in the analysis of fiction is substantiated. Potential online resources helping work with literature are examined. In addition, the possibilities of online resources (rebus, comics’ generator, the creating of mind maps, crosswords on different platforms) are determined as important part of the work with text. It has proved that such innovate approaches help to develop creative potential of students, allows analyzing literary text in a new way. Such approaches will be helpful in professional activity of teachers in primary school.
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Rauf, Ramis. "Proyeksi Astral: Analisis Wacana Fiksi Posmodern dalam Naskah Film Insidious". Jurnal POETIKA 5, n.º 1 (31 de julio de 2017): 51. http://dx.doi.org/10.22146/poetika.25994.
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This study aims to analyze astral projection as a concept of Death and Dying by using a postmodern fiction discourse analysis perspective in Insidious movie script. This study found that astral projection is a capability possessed by a person to leave physical body and explore an astral world or the spirit world. Astral projection is a death and dying concept that is presented as one of the postmodern fictional strategies known as superimposition. This strategy illustrates that there are two worlds that accumulate and co-exist with each other. Its presence is a way of deconstructing thoughts about something that is considered uncanny and unusual as well as a counterpart of totality that puts the ontological side of the existence of something. It is said by McHale (1987) that it is a sister-genre of postmodern fiction. Science fiction explores ontological issues in order to build a good story while postmodern fiction simply presents the problem without having to build a story. Furthermore, both genres can adopt each other's strategies. Meanwhile, postmodern fictional relations and fantasy fiction are the same, borrowing strategies for exploring ontological issues.
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Rauf, Ramis. "Proyeksi Astral: Analisis Wacana Fiksi Posmodern dalam Naskah Film Insidious". Poetika 5, n.º 1 (31 de julio de 2017): 51. http://dx.doi.org/10.22146/poetika.v5i1.25994.
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This study aims to analyze astral projection as a concept of Death and Dying by using a postmodern fiction discourse analysis perspective in Insidious movie script. This study found that astral projection is a capability possessed by a person to leave physical body and explore an astral world or the spirit world. Astral projection is a death and dying concept that is presented as one of the postmodern fictional strategies known as superimposition. This strategy illustrates that there are two worlds that accumulate and co-exist with each other. Its presence is a way of deconstructing thoughts about something that is considered uncanny and unusual as well as a counterpart of totality that puts the ontological side of the existence of something. It is said by McHale (1987) that it is a sister-genre of postmodern fiction. Science fiction explores ontological issues in order to build a good story while postmodern fiction simply presents the problem without having to build a story. Furthermore, both genres can adopt each other's strategies. Meanwhile, postmodern fictional relations and fantasy fiction are the same, borrowing strategies for exploring ontological issues.
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Терехова, Ірина Олександрівна. "ІНФЕРНАЛЬНИЙ ОБРАЗ ЛІТАВЦЯ (ПЕРЕЛЕСНИКА) В УКРАЇНСЬКІЙ РОМАНТИЧНІЙ ПРОЗІ". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 1, n.º 99 (2022): 137–55. http://dx.doi.org/10.34142/2312-1076.2022.1.99.09.
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The aim of the article is to comprehend the specifics of the infernal image of the litavets (perelesnyk) in Ukrainian romantic prose. In order to achieve this goal, the following systemic unity of research methods was used: typological, biographical, comparative, genetic, method of analysis and synthesis, mythopoetic approach to the interpretation oftexts. The article on the material of folk poetry and literary texts, as well as folklore studies of V. Hnatiuk, O. Kononenko, E. Onatsky and other scientists characterizes the infernal image of the litavets. It is determined that the litavets (perelesnyk, fire snake, nalitnyk, litun, obaiasnyk, perelet) is an anthropomorphic infernal character. Its main function is to enter into intimate relations with women, which subsequently mostly turn into death. The image of the perelesnyk is quite popular in folk tales and legends. Thus, in fairy tales he often appears as an antagonistic hero who kidnaps girls, which is mentioned in such works as «Ivan the King, his sister and the snake», «Kotygoroshko», «How snakes kidnapped three sisters», «Snake winner and the dragon», «The Tale of Ivan Golyk and his brother», etc. In these works, along with the motif of kidnapping women, there is also the motif of snake-fighting. Note that the motif of victory over the insidious serpent is leading in folk legends, in particular in stories about the serpent shaft, the terrible serpent defeated by Boris and Gleb, in the story of Kozhumyak (mentions of these legends are also found in the early edition of the first historical novel in Ukrainian literature «Five Chapters from P. Kulesh's New Novel ”Black Council”», 1845). Interpretation of the mythical nature of the fire snake has become widespread in fiction, especially in the prose of the Romantic period. A striking example of this is the work of P. Kulish (the stories «About what in the town of Voronezh dried up Peshevtsov Pond», 1840; «Fire Snake», 1841) and I. Barshchevsky (the story «Nobleman Zavalnya»), where the image of a perelesnyk is available in the chapter «On the Warlock and the Serpent Hatched from the Egg of a Rooster», 1844). P. Kulish instory «About what in the town of Voronezh dried up Peshevtsov Pond» the image of an incubus who came to his beloved every night, and in the story of the fire snake the writer presented the image of a perelesnyk-seducer, who did not suck, but gave a beauty his chosen woman. In I. Barshchevsky's story about the nobleman Zavalnya, the serpent turned into a young man, but he could not seduce the belle, as sincere prayer and a saving cross stood in the way.
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Chatterjee, Ronjaunee. "PRECARIOUS LIVES: CHRISTINA ROSSETTI AND THE FORM OF LIKENESS". Victorian Literature and Culture 45, n.º 4 (8 de noviembre de 2017): 745–62. http://dx.doi.org/10.1017/s1060150317000195.
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In its anonymous reviewof Christina Rossetti'sSpeaking Likenesses(1874), theAcademynotes rather hopelessly: “this will probably be one of the most popular children's books this winter. We wish we could understand it” (606). The reviewer – who later dwells on the “uncomfortable feeling” generated by this children's tale and its accompanying images – still counts as the most generous among the largely puzzled and horrified readership of Rossetti's story about three sets of girls experiencing violence and failure in their respective fantasy worlds (606). While clearly such dystopic plots are not out of place in Victorian literature about children, something about Rossetti's unusual narrative bothered her contemporaries. John Ruskin, for instance, bluntly wondered how Rossetti and Arthur Hughes, who illustrated the story, together could “sink so low” (qtd. in Auerbach and Knoepflmacher 318). In any case, the book still sold on the Christmas market, and a few months later, Rossetti would publishAnnus Domini, a benign pocketbook of daily prayers that stands in stark contrast to the grim prose ofSpeaking Likenesses.It is therefore tempting to cast this work of children's fiction as a strange anomaly in Rossetti's oeuvre, which from the 1870s, beginning withAnnus Domini, to her death in 1894, became almost exclusively dominated by devotional prose and poetry. In contrast, I argue in the following essay thatSpeaking Likenessespoints to a widespread interest throughout Rossetti's writing – but especially in her most well-known poems fromGoblin Market and Other Poems(1862) andA Prince's Progress(1866) – in alternative modes of sociality that refract a conceptual preoccupation with likeness, rather than difference. Following traditions of critical thought that have paid increasing attention to relations that resist oppositional logic – Stephanie Engelstein and Eve Kosovsky Sedgwick's late work comes to mind here – I establish the primacy of a horizontal axis of similarity in bothSpeaking Likenessesand Rossetti's most canonical poem, “Goblin Market.” For Rossetti, the lure of similarity, or minimal difference, manifests itself most often in siblinghood and more specifically, sisterhood, the dominant kinship relation throughout her lyrics fromGoblin Market and Other Poems. Sisterhood anchors the title poem I will examine in this essay, as well as shorter verses such as “Noble Sisters” and “Sister Maude.” At issue in such relations of likeness is the discreteness of a (typically) feminine self. For Rossetti, shunning oppositional structures of desire and difference that typically produce individuation (exemplified in the heterosexual couple form and the titles of her uneasy lyrics “He and She” and “Wife to Husband”) allows for a new (albeit perilous) space to carve out one's particularity as a gendered being.
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Clark, Lynda. "All the small things: Depicting the randomization of grief in (digital) short fiction". Short Fiction in Theory & Practice 12, n.º 1 (1 de abril de 2022): 7–17. http://dx.doi.org/10.1386/fict_00045_1.
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When I read scholar Tia-Monique Uzor’s recent tweet about how she had been thinking about grieving as a practice and how to hold spaces for collective grief and to make room for grief over seemingly small things, I realized that this was what I had been doing when writing fiction that was obliquely about my sister’s death. The collective grief I had sought was not the public ritual of the funeral, but the asynchronous sharing of short fiction. I needed to grieve not only the big, obvious losses of my sister and way of life during COVID-19 but also all the ‘seemingly small things’ that come together to constitute my experiences of loss. This article is an attempt to reflect on that process and how complex narrative structures can provide a tool for expressing complex emotions and experiences. It considers grief as a multifarious topic and writing techniques for conveying that multiplicity. Finally, it explores technology, randomization and text generation as tools which further expand writers’ expressive capabilities.
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Fay, Julie. "Hannah and Her Sister: The Facts of Fiction". Prospects 23 (octubre de 1998): 1–21. http://dx.doi.org/10.1017/s0361233300006244.
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When I was growing up in Southern Connecticut, my mother referred occasionally to an ancestor of ours who had killed some Indians. In 1970, I went away to college and Mom came up to Massachusetts for Parents' Weekend. Just across the river from my campus in Bradford stood a statue in the center of Haverhill's town green. My mother pointed it out to me (my sister had gone to the same school, so Mom knew her way around the area). I'd been passing this tribute to our ancestor – supposedly the first statue of a woman ever erected in this country – every time I went to town to pick up subs or hang out with the townies. Not sure whether to be proud or ashamed, my mother and I stood and looked up at the bronze woman streaked with bird droppings. Her hatchet was raised, her hefty thigh slightly raised beneath her heavy skirts; we imagined we saw a family resemblance – the square jaw and round cheeks that are distinctive in our family. At the base of the statue, bas relief plaques narrated Hannah Emerson Dustin's story: taken by Abenaki Indians from her Haverhill home along with her week-old infant and her midwife, Mary Neff, Dustin watched as her infant was killed by the Indians. She was then marched up along the Merrimack River, through swamps and woods, to a small island where the Merrimack meets the Contoocook River, in present-day New Hampshire. Shortly after her arrival at the island, Dustin – with the aid of Mary Neff and perhaps that of an English boy, Samuel Lenardson, then living with the Indians – hatcheted to death the sleeping people, scalped them, then made her way back down the Merrimack in a canoe. As I looked at the statue, I wondered many things about Dustin.
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Hartati, Nariswari, Mia Fitria Agustina y Ririn Kurnia Trisnawati. "Markey’s Denial to Cope Grief in Niven’s All the Bright Places". Metathesis: Journal of English Language, Literature, and Teaching 6, n.º 2 (2 de noviembre de 2022): 190–98. http://dx.doi.org/10.31002/metathesis.v6i2.74.
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The object of this study is All the Bright Places (2015), a young adult fiction novel which tells a story about two teenagers and their problems related to their mental illness. The interesting topic which became the main discussion in this study is how the female character of this novel, Violet Markey, using denial as her defence mechanism to cope grief on her sister and boyfriend’s death. To examine this topic, the researchers used descriptive qualitative method. This study found that in order to cope with Markey’s sister death, Markey used self-protective function of denial, while to cope with Finch’s death, her form of denial is by refusing to acknowledge his death.
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Benvegnù, Damiano. "Deadly Mirrors: Animal Death in Tommaso Landolfi and Stefano D'Arrigo". Paragraph 42, n.º 1 (marzo de 2019): 76–90. http://dx.doi.org/10.3366/para.2019.0289.
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From Hegel to Heidegger and Agamben, modern Western philosophy has been haunted by how to think the connections between death, humanness and animality. This article explores how these connections have been represented by Italian writers Tommaso Landolfi (1908–79) and Stefano D'Arrigo (1919–92). Specifically, it investigates how the death of a nonhuman animal is portrayed in two works: ‘Mani’, a short story by Landolfi collected in his first book Il dialogo dei massimi sistemi (Dialogue on the Greater Harmonies) (1937), and D'Arrigo's massive novel Horcynus Orca (Horcynus Orca) (1975). Both ‘Mani’ and Horcynus Orca display how the fictional representation of the death of a nonhuman animal challenges any philosophical positions of human superiority and establishes instead animality as the unheimlich mirror of the human condition. In fact, in both stories, the animal — a mouse and a killer whale, respectively — do die and their deaths represent a mise en abyme that both arrests the human narrative and sparks a moment of acute ontological recognition.
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Wójcik-Czerwińska, Marta. "Plotting Against Oil in American and Canadian Non-fiction // Conspirando contra el petróleo en la no-ficción americana y canadiense". Ecozon@: European Journal of Literature, Culture and Environment 8, n.º 2 (31 de octubre de 2017): 175–88. http://dx.doi.org/10.37536/ecozona.2017.8.2.1068.
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Abstract Stephanie LeMenager, literature professor and author of Living Oil: Petroleum Culture in the American Century (2014), opens her study of America’s relationship with the resource by asserting that reports of its death have been exaggerated. Oil not only drive American modernity, but also inspire writers to explore it, in both fiction and non-fiction. While “petrofiction,” fiction with oil at its core, has received critical attention, certain new developments in non-fictional writing centred on petroleum call for more consideration. This article, therefore, probes representations of oil in contemporary American and Canadian non-fiction. It analyses William L. Fox’s essay “A Pipeline Runs through It” (2011), which is based on a trip along the Trans-Alaska Pipeline, and Andrew Nikiforuk’s article “Canadian Democracy: Death by Pipeline” (2012), which discusses the impact of the proposed Northern Gateway Pipeline from Alberta to British Columbia. Adopting an ecocritical perspective, the article puts to the test LeMenager’s thesis that journalists are “expert plotters against oil” and “conservationists.” To this aim, it analyses the specific means by which the two journalists expose the presence of oil, and highlight its micro and macro implications, from its impact on the landscape and the lives of people whose livelihoods and cultures have been shaped by the natural world, to that on democracy and our minds. Resumen Stephanie LeMenager, profesora de literatura y autora de Living Oil: Petroleum Culture in the American Century (2014), abre su estudio sobre la relación de los Estados Unidos con el petróleo como recurso natural, mediante la afirmación de que los informes de su muerte han sido exagerados. El petróleo no sólo impulsa la modernidad americana sino también inspira a los escritores para explorarlo tanto en la ficción como en la no-ficción. Mientras que la “petroficción,” ficción centrada en el petróleo, ha sido objeto de atención crítica, algunos nuevos desarrollos en la escritura de no-ficción centrada en el petróleo causan mayor interés. Este artículo trata de representar al petróleo en la no-ficción contemporánea americana y canadiense. Analiza el ensayo de William L. Fox “A Pipeline Runs through It” (2011), basado en un viaje a lo largo del sistema de oleoducto Trans-Alaska, y el artículo de Andrew Nikiforuk “Canadian Democracy: Death by Pipeline” (2012), discutiendo el impacto de la propuesta del oleoducto del Norte desde Alberta hasta la Columbia Británica. Adoptando una perspectiva ecocrítica, el artículo pone a prueba las tesis de LeMenager de que los periodistas como “expertos conspiradores contra el petróleo” y “conservacionistas”. Para ello, analiza los medios específicos por los cuales los dos periodistas exponen la presencia de petróleo y destacan sus macro y micro implicaciones, desde su impacto en el paisaje y en las vidas de las personas cuyos medios de vida y culturas han sido moldeadas por el mundo natural, hasta su impacto en la democracia y en nuestras mentes.
Tesis sobre el tema "Sisters – death – fiction"
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Burner, Colleen. "Sister Golden Calf: Stories, Dissections, & A Novella". PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/2081.
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Children find decomposing bodies on a beach. A girl becomes a ghost and finds someone. A dog dies but its owner is out of his mind and eating waffles. Sheep are a perfect species. A woman experiences a pregnancy that is out of this world! A raccoon dies and you watch its body break down. A father does his best fathering.
You take a textual road-trip tour of America’s oldest hobby. A trauma is slowed down, picked apart. A soupfin shark is dissected and you watch. A homestead becomesa ghost town in rural Oregon. Joseph Beuys is an artist.
A sister falls in love with an object, has a difference of opinion with her sister.
Libros sobre el tema "Sisters – death – fiction"
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Roth, Ann. My sisters. New York: Kensington Pub., 2008.
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Carey, Janet Lee. Stealing death. New York: Egmont USA, 2009.
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Roth, Ann. My sisters. New York: Kensington Pub., 2008.
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Tokarczuk, Olga. Anna In w grobowcach świata. Kraków: Znak, 2006.
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Smelcer, John E. The Great Death. New York: Henry Holt and Co., 2009.
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Cross, Kady. Sisters of blood and spirit. Don Mills, Ont: Harlequin Enterprises, Limited, 2015.
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HIGGINS, Jack. Death run. New York: G.P. Putnam's Sons, 2008.
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Jensen, Louise. Sister. London: Sphere, an imprint of Little, Brown Book Group, 2017.
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Cohen, Leah Hager. Heat lightning. New York: Avon Books, 1997.
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Pohl, Peter. I miss you, I miss you! New York: R&S Books, 1999.
Buscar texto completoCapítulos de libros sobre el tema "Sisters – death – fiction"
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Mayer, Peta. "The Degenerate in Falling Slowly (1998)". En Misreading Anita Brookner, 192–223. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620597.003.0006.
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Silence and rereading are key discursive practices of Miriam and Beatrice Sharpe, the sister protagonists of Falling Slowly. Their forms of absence and excess cause critics to herald the decline of Brookner’s powers in her early reception.The sisters also share a number of behaviours with the aesthetes and Decadents labelled degenerate in Max Nordau’s Degeneration including Joris-Karl Huysmans, Baudelaire and Stéphane Mallarmé. Such behaviours include dullness, decline, ennui, inactivity, boredom, invisibility, anxiety, restlessness and absence. This chapter spins the hierarchical figure of the degenerate across the sister relationship of the domestic fiction to produce a queering of the domestic fiction. Rejecting the normative impulse of the figure, it instead engages its deconstructive capacity to render transparent the mechanisms of epistemological production and expose the way in which subjects and objects attain status as real or unreal, healthy or sick, visible or invisible, literal or figurative, heterosexual or lesbian. Inspired by Lee Edelman’s No Future: Queer Theory and the Death Drive, it mobilises a ‘no future’ narrative as the narrative form of the degenerate. The rhetorical form of syllepsis, which governs shifts between the literal and figurative, is reappropriated from the male canon to underscore the open-ended nature of signification.
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"Agnes Strickland (1796-1874)". En A Century of Sonnets, editado por Paula R. Feldman y Daniel Robinson, 194–95. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0069.
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Abstract After the death of their father in 1818, Agnes Strickland and her sister Elizabeth published historical fiction for children. Thomas Campbell, editor of the New Monthly Magazine, printed some of her translations of Petrarch’s son nets. She was a prolific contributor to the gift books and annuals, especially to the Keepsake, the Forget-Me-Not, and Friendship’s Offering. She brought out a metrical romance Worcester Field in 1826 and The Seven Ages ef Woman the following year. But she became most well known as a historian after publishing, from 1840 to 1848, with Elizabeth, the Lives ef the Queens of England; this twelve-volume set was followed by several other major historical works, all of which showed strong Stuart partisanship.
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Block, Geoffrey. "“Introduction” to Musical Stages". En The Richard Rodgers Reader, 255–58. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195139549.003.0033.
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Abstract Mary Rodgers (1931-) is the composer of the perennially performed musical Once Upon a Mattress (1959) and several works of popular fiction designed for younger readers, most notably Freaky Friday, both the original 1972 novel and the screenplay to a successful Disney film with Jodie Foster in 1977. At the time of her father’s death, his elder daughter informed well-wishers that her personal loss was no greater than theirs, since her father’s single-minded devotion to the theater precluded all else, including his presence as a warm and loving daddy. Introducing the 1995 reprinted edition of Musical Stages fifteen years later, Mary Rodgers discusses, perhaps for the first time in print, her father’s unhappiness and chemical depression. She also writes of Rodgers’s love of collaboration and his successful partnership with two contrasting geniuses, Larry Hart and Oscar Hammerstein. At the end of this touchingly honest remembrance, written, according to Rodgers and Hammerstein Organization President Ted Chapin, after she had rejected his offer to provide an introduction, Mary Rodgers publicly expresses feelings privately denied fifteen years earlier: “Granted, he was hardly your run-of-the-mill father, but of course I loved him. A lot. So there!” My father wrote in our living room with the door wide open. He would request that we, my sister and I, not sing or whistle or otherwise distract him, but aside from that, it was a rather public happening. A morning person, an enviably quick study, and cheerfully businesslike about his work, he’d go to the piano at nine and was usually through by ninethirty.