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Letteratura scientifica selezionata sul tema "Heroic fantasy"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "Heroic fantasy"

Valkenburg, Patti M., Marcel W. Vooijs, Tom H. A. van der Voort e Oene Wiegman. "The Influence of Television on Children's Fantasy Styles: A Secondary Analysis". Imagination, Cognition and Personality 12, n. 1 (settembre 1992): 55–67. http://dx.doi.org/10.2190/99qn-1ecb-g7f0-je6e.

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In a secondary analysis applied to longitudinal data obtained from a panel survey, the authors established how violent and nonviolent television program types were related to three fantasy styles: a positive-intense, aggressive-heroic, and a dysphoric fantasy style. A sample of Dutch children ( N = 354) was surveyed when they were in Grades 2 and 4, and resurveyed two years later. Results indicated that children's fantasy styles in Year 1 did not affect their television viewing in Year 3. However, children's viewing frequency in Year 1 did influence their fantasy styles in Year 3. The longitudinal effects of television were dependent on the types of programs watched. Watching nonviolent children's programs encouraged a positive-intense fantasy style, whereas violent programs encouraged an aggressive-heroic fantasy style. Television viewing was unrelated to dysphoric fantasy.

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Johnsen, Christian Garmann, e Bent Meier Sørensen. "Traversing the fantasy of the heroic entrepreneur". International Journal of Entrepreneurial Behavior & Research 23, n. 2 (13 marzo 2017): 228–44. http://dx.doi.org/10.1108/ijebr-01-2016-0032.

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Purpose While considerable critical energy has been devoted to unmasking the figure of the heroic entrepreneur, the idea that entrepreneurs are unique individuals with special abilities continues to be widespread in scholarly research, social media and popular culture. The purpose of this paper is to traverse the fantasy of the heroic entrepreneur by offering a reading of Richard Branson’s autobiography, Losing My Virginity. Design/methodology/approach The theoretical approach of this paper is informed by Slavoj Žižek’s concept of fantasy and his critical analytical strategy of “traversing the fantasy”. Žižek offers a theoretical framework that allows us to understand how narratives of famous entrepreneurs create paradoxical fantasies that produce desire. Findings By offering a reading of Richard Branson’s autobiography, Losing My Virginity, this paper serves to illustrate how the fantasy of the heroic entrepreneur creates the injunction to overcome oneself and become true to oneself, but also how this figure is ridden with contradictions and impossibilities. Branson’s book will eventually be shown to be a religious narrative, where the entrepreneur is responsible for redeeming the crises not only of the economy, but of being as such. Originality/value Rather than striving towards a processual approach that lays emphasis on the collective effort involved in entrepreneurship, this paper critically engages directly with the heroic entrepreneur by exploring how this figure is a fantasy that structures desire. This paper shows how critical entrepreneurship studies could benefit from an approach that analyses how the cultural representation of business celebrates the heroic entrepreneur as a source of value creation. The authors further argue that it is the contradictions and impossibilities embodied in the figure of the heroic entrepreneur that carry its far-reaching appeal.

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Dr. Abdul Shakoor e Muhammad Tahir. "Elements of Fantasy in Arabic Literature after the Emergence of Islam: A Brief Review". Dareecha-e-Tahqeeq 3, n. 3 (16 gennaio 2023): 235–45. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i3.68.

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Fantasy is an imaginative, unrealistic component of a story or tale which appears unusual and strange. It comprise of unbelievable actions and events. Its basic types are fable, epic, super heroic, chronological, romantic, scientific, fabulous, planetary fantasy, extra planetary, magical, adulthood, narcissist and idealist fantasies. The subject article is a discussion of literary importance of all types of fantasies in Arabic literature after the advent of Islam.

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Vooijs, Marcel W., Johannes W. J. Beentjes e Tom H. A. van der Voort. "Dimensional Structure of the Imaginal Processes Inventory for Children (IPI-C)". Imagination, Cognition and Personality 12, n. 1 (settembre 1992): 45–53. http://dx.doi.org/10.2190/wwrx-j2d1-84pe-ddkg.

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The dimensional structure of Dutch versions of the Imaginal Processes Inventory for Children (IPI-C) was investigated with children in Grades 3–6. According to Study 1, the reliabilities of the nine subscales distinguished within the American instrument were not satisfactory. A principal components analysis (PCA) performed on the subscales resulted in three factors that paralleled the three fantasy styles found previously in a similar analysis of the American IPI-C. However, two of the three factors found were defined by subscales that had a number of items in common. When these shared items were removed from the subscales, a different three-factor solution emerged. The three fantasy styles found in the latter analysis were encountered again in Study 2, which was conducted with an adjusted version of the IPI-C. Three reliable fantasy scales were constructed, for positive-intense, heroic-aggressive, and dysphoric fantasy. The results of the two studies justify further research into the validity of these three fantasy scales.

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Ivanova, Elizaveta A. "Transformation of the Concept ‘Hero’ in Joe Abercrombie’s Works". Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, n. 4 (25 novembre 2020): 478–82. http://dx.doi.org/10.18500/1817-7115-2020-20-4-478-482.

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Based on myths, epic, romance and adventure literature, classical fantasy books often depicted their heroes as warriors physically fighting evil. Nowadays the British writer Joe Abercrombie, whose works belong to the so-called grimdarkfantasy, depicts wars questioning the value of violent heroic deeds and the concept of a ‘hero’ itself.

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Veglahn, Nancy. "Images of Evil: Male and Female Monsters in Heroic Fantasy". Children's Literature 15, n. 1 (1987): 106–19. http://dx.doi.org/10.1353/chl.0.0366.

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Ivanova, Natalia, e Olga Ryzhchenko. "META-GENRE OF FANTASY IN THE CONTEXT OF MODERN SCIENCE". RESEARCH TRENDS IN MODERN LINGUISTICS AND LITERATURE 2 (7 novembre 2019): 23–37. http://dx.doi.org/10.29038/2617-6696-2019.2.23.37.

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The article deals with the problem of interpreting the phenomenon of fantasy in modern science. Fantasy has spawned many discussions related to the definition of its sources and genre nature, the relationship with the myth-folklore tradition, the problems of classification, the specifics of extra-literary functions and many others. We consider fantasy to be one of the branches of speculative fiction, which naturally formed into an independent industry in the second half of the twentieth century. Initially having appeared as a genre, fantasy subsequently has outgrown this category. Today we can say with confidence that fantasy is a meta-genre, which has its own structure of modeling the world and unites various literary genres (novel, novelette, lyric poetry and others) and types of art (sculpture, cinema, animation, graphic arts, painting, and others) with a common subject of artistic representation.The constant dynamics of fantasy leads to the increase in the number of topics (heroic, epic, historical, magical, scientific, romantic and mystical) and, as a result, the readership as well. For example, it can be classified by age criterion (children – adult), by geographic criterion (urban – countryside), and even by gender principle (men – women fantasy). There are several approaches presenting different aspects of the phenomenon: classifications by the type of adventure or problematic-thematic principle (Ramin Shidfar or Sergey Alekseev and Mikhail Batshev). Such a diverse scientific interest in fantasy, multiple attempts to classify and systematize it, as well as going beyond the boundaries of the literary genre, testify to the ongoing process of its development.

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John, Judith Gero. "A Necessary Fantasy?: The Heroic Figure in Children's Popular Culture (review)". Lion and the Unicorn 27, n. 2 (2003): 286–88. http://dx.doi.org/10.1353/uni.2003.0017.

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Hughes, A. J., Bo Almqvist, Séamas Ó. Catháin e Pádraig Ó. hÉalaí. "The Heroic Process: The Form, Function & Fantasy in Folk Epic". Seanchas Ardmhacha: Journal of the Armagh Diocesan Historical Society 13, n. 2 (1989): 332. http://dx.doi.org/10.2307/29742415.

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Abasheva, Marina P. "Slavic fantasy yesterday and today". Philological Sciences. Scientific Essays of Higher Education, n. 2 (marzo 2021): 39–46. http://dx.doi.org/10.20339/phs.2-21.039.

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The article is devoted to the study of the evolution and transformation of the Slavic fantasy genre on Russian soil: from its inception in the 1990s to the present day. Fantasy on the material of the events of the time of the pro-Slavic unity in Russia gained popularity and special significance. They solved the compensatory tasks of re-identification for the mass consciousness: with the collapse of the Soviet empire, the post-Soviet man needed a positive identity, which manifested itself in turning to the “great past” in predominantly heroic images. The subsequent historization and contextualization of the genre, its transformation from a fairy tale to a quasi-historical narrative was largely due to the influence of the ideologies spread by folk history. In the 2000s, Slavonic fantasy employs the mechanisms of routine, serialization, reduction, and convergence. In the 2010s, Slavic fantasy continues to be part of the national myth, gaining new genre forms — a film, a computer game, etc. However, new examples of the genre (in particular, Andrei Rubanov’s novel “Finist the Clear Falcon” of 2019) broadcast nostalgic moods in the aesthetic spirit retroutopia. If at the turn of the 1990–2000s Slavic fantasies became close to a historical adventure novel, now their rapprochement with a fairy tale is indicative.

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Tesi sul tema "Heroic fantasy"

Palmer-Patel, C. "Resonance of the heroic epic : investigating the rhythm and shape of post-1990 American genre fantasy". Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/85978/.

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While the long history of the fantastic is often critically examined, contemporary epic fantasy requires attention. This thesis will address a gap in genre scholarship and will focus on authors who have published from 1990 onwards. While this thesis will focus on close readings of a select few authors in order to delve into the complexity of these texts in greater detail, a wide sample of exemplars will be referred to, establishing the significance of this study on contemporary genre fantasy as a whole. This thesis introduces new ways of perceiving current productions of fantasy genre. It explores how the subgenre of heroic epic fantasy fiction exhibits a conscious awareness of its own form. By examining repetitive patterns of genre fantasy, the thesis argues that, rather than being simplistic, reductive, and formulaic, these structures create a layer of complexity and depth with each iteration. In doing so, heroic epic fantasy uses a resonance similar to that of epic mythology in order to create a new world with its own rational laws, one which follows the rationale of our own world. Thus, the thesis investigates structural and narrative patterns of heroic epic fantasy using models from science and philosophy. In this way, although the genre is generally viewed as irrational, the structure of the narrative reveals logical devices derived from real-world principles. Fantasy fiction is not an illogical form. It is, in fact, governed by a sense of rules and structure, one that reflects our current understanding of space-time and cosmology. More importantly, these real-world models are themselves an embedded facet of the narrative and essential to the way both story and character develops. Accordingly, the thesis depicts how these models are an integral part of the structure of heroic epic fantasy itself.

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Rush, Randy Fernandese. "A survey of African-American fantasy literature with case study analyses of the responses of four African-American adolescents to young adult heroic fantasy literature that features protagonists of African origin /". The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794247640608.

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Barbosa, Lima Eduardo. "Chronotope in western role-playing video games : an investigation of the generation of narrative meaning through its dialogical relationship with the heroic epic and fantasy". Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/16375.

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The development of the video game industry and the increasing popularity of the medium as a form of entertainment have led to significant developments in the discipline of game studies and a growing awareness of the cultural significance of video games as cultural artefacts. While much work has been done to understand the narrative aspect of games, there are still theoretical gaps on the understanding of how video games generate their narrative experience and how this experience is shaped by the player and the game as artefact. This interdisciplinary study investigates how meaning is created in Western Role Playing Games (WRPGs) video games by analysing the narrative strategies they employ in relation to those commonly used in Heroic Epic and Fantasy narratives. It adopts the Bakhtinian concepts of chronotope and dialogue as the main theoretical tools to examine the creation and integration of narratives in WRPGs with a special focus on the time-space perspective. Elder Scrolls V: Skyrim and Dragon Age Origins were chosen as representatives of the WRPG video game genre while Beowulf and the tale of Sigurd, as it appears in the Poetic Edda and the Volsung Saga, were chosen as representatives of the Heroic Epic poetic tradition. References are also made to Fantasy novels, especially the work of J.R.R. Tolkien. Textual analysis along with some techniques employed by researchers working with visual methodologies and compositional interpretation were used to analyse relevant aspects of the texts and games. The findings suggest that intertextual and genre materials considerably shape the narrative of WRPGs and exercise a profound dialogical effect on the ludonarrative harmony of the games investigated through their interaction with the game world and gameplay systems. This relationship is most visible in the chronotopic (time-space) aspect of the chosen games. The findings also suggest that Epic material dialogically orients the WRPG players' experience and adjusts their expectations and understanding of the fictional world. This study as well as the refining of chronotopic analytical tools to encompass chronotopic awareness, transportation, and flow may be of use in further chronotopic investigations of different games, literary genres, and/or other media artefacts.

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Ruthven, Andrea. "Representing Heroic Figures and/of Resistance: Reading Women’s Bodies of Violence in Contemporary Dystopic Literatures". Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/298592.

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This thesis analyses heroic women in contemporary popular culture, specifically within dystopic texts. Relying on the use of feminist theory to interrogate the texts of the corpus, a clear distinction will be drawn in the introduction between postfeminist discourse and rhetoric and Third Wave feminist intervention. The heroines of the novels Pride and Prejudice and Zombies (2009), Sense and Sensibility and Sea Monsters (2009), Jane Slayre (2010), The Life and Times of Martha Washington in the Twenty-First Century (1990-2007), and The Hunger Games trilogy (2008, 2009, 2010), will serve as the focus for an itnerrogation of female heroism, violence, and posthumanity. Each of the three chapters dedicated to textual analysis considers how the various heroines’ violence is mobilised, and how its representation works to reinscribe or resist patriarchal discourse. My argument is that the discourse which constructs violent women works as a form of violence in and of itself, to which the heroic female body is subjected. The focus on dystopic texts written between 1990 and 2010 serves as the basis for an analysis that seeks to consider how the heroine is a construction of the contemporary moment, and how popular culture and media are driving forces in the way in which postfeminism occupies a central role in the narrative surrounding strong, violent heroines. The range of sub-genres, contemporary Gothic, comic books, and young adult fiction, offer a broad field for interrogating this ubiquitous figure. Chapter one, ‘Spectres of Feminism: Postfeminism and the Zombie Apocalypse’ considers how the integration of posthuman monsters (zombies primarily but also vampires, sea monsters, and the she-wolf) manipulates the potential for agentic heroines such that their violence is reinscribed within heteronormative and Humanist frameworks. The matrimony plot so prevalent in the texts highlights how the active heroine’s violence is only permissible within the bounds of heteronormativity. Chapter two, ‘Violent Heroines, Comic Books and Systemic Violence’ considers the construction of the super heroine of the comic book genre and considers the way in which a racialised female body disrupts the norm and yet is still subjected to patriarchal strategies for containing representations of heroic women’s bodies and violence. The introduction of the cyborg as the posthuman enemy further emphasises how violence is mobilised in the postfeminist heroine as a means of sustaining patriarchal culture and anthropocentric normativity. The analysis in Chapter three, ‘Katniss Everdeen and The Hunger Games: Dystopia and Resistance to Neoliberal Demands,’ brings to light the potential for a heroine that disrupts the postfeminist model seen in the previous two chapters. Through an interrogation of the way in which the novels are critical of spectator culture and the romance plot, a space for resistance is opened up. The representation of a heroine who eschews the individualist notions of postfeminist heroism by privileging the formation of affective bonds, as well as embracing the posthuman condition rather than fighting against it, offers the potential for a Third Wave feminist protagonist. Considering, in the conclusion, the way in which heroines and viragos are represented in contemporary texts, whether they be fighting zombies, enemies of the state or the state itself, it is clear that the way in which women’s violence is often offered as a postfeminist depiction of women’s equality and power serves to reinscribe women within a patriarchal framework. For the late-capitalist, globalised culture, it is imperative to represent a postfeminist vision of women as powerful, independent and equal without actually challenging the socio-political structure. This dissertation identifies the ways in which postfeminist versions of heroic women are constructed and offer a possible alternative, one which coincides with a Third Wave feminist understanding of the heroine’s role in contemporary society.
Esta tesis toma como punto de partida el análisis de las mujeres heroicas en la cultura popular contemporánea, específicamente en los textos distópicos. Aplicando las teorías feministas al análisis de los textos, se hará una distinción clara entre el discurso postfeminista y la intervención del feminismo de Tercera Ola. Me centraré en las heroínas de las novelas Pride and Prejudice and Zombies (2009), Sense and Sensibility and Sea Monsters (2009), Jane Slayre (2010), The Life and Times of Martha Washington in the Twenty-First Century (1990-2007), y la trilogía de The Hunger Games (2008, 2009, 2010) para analizar la violencia y el heroísmo femeninos, así como el posthumanismo. Cada uno de los tres capítulos dedicados al análisis textual reflexiona sobre el modo en que se concibe la violencia de las distintas heroínas, y cómo su representación intenta reinscribir o resistir el discurso patriarcal. Mi argumento es que el discurso que construye a las mujeres violentas funciona como una forma de violencia en y por sí misma, a la que se somete el cuerpo heroico femenino. El estudio de textos distópicos escritos entre 1990 y 2010 sirve de base para un análisis que busca interrogar no sólo a la heroína como construcción del momento actual, sino también el modo en que la cultura popular y los medios constituyen agentes clave en el predominio que el postfeminismo ha conseguido dentro de la narrativa de heroínas fuertes y violentas. La variedad de sub-géneros (Gótico contemporáneo, cómics, y ficción juvenil) ofrece un campo amplio para el análisis de esta figura ubicua. Al considerar el modo en que las heroínas y viragos se representan en los textos contemporáneos queda claro que el modo en que la violencia de las mujeres se ofrece como instancia postfeminista de igualdad y empoderamiento de las mujeres funciona en realidad como re-inscripción de las mujeres dentro de un marco patriarcal. Esta tesis identifica las maneras en que se construyen las versiones postfeministas de las mujeres y ofrecer una posible alternativa, una que coincide con la visión del feminismo de Tercera Ola, acerca del papel de la heroína en la sociedad contemporánea.

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Waugh, Kirsty. "Mixing memory and desire: recollecting the self in Harry Potter and His Dark Materials : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University, Auckland, New Zealand". Massey University, 2009. http://hdl.handle.net/10179/1006.

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Just as memory pervades our everyday lives, it pervades the lives of the characters and readers of J.K. Rowling's Harry Potter series and Philip Pullman's His Dark Materials trilogy. Acts of recall or recollection occur in almost every chapter as the characters in these novels devote much of the present to keeping in touch with some aspect of the past. Memory is integral to Harry Potter and His Dark Materials, highlighting the following problematic questions: Who are we and how do we relate to the past? How is what we wish for the future grounded in the past and the present? Memory is at the core of constructivism, the active construction of reality by the individual through the use of mental activity. In this thesis I maintain that the central protagonists in Harry Potter and His Dark Materials, Harry Potter and Lyra Belacqua, actively construct their "selves" from memories and narratives – their own and those of others – just as the novels' readers negotiate their own identities in the world outside of the novels. The constant recalling of the past to confirm and amply one's present creates a complex web of remembering and forgetting, assimilating and discarding, which we attempt to explicate through the use of culturally appropriate metaphors. The thesis comprises three chapters that correlate memory with genre, narrative, and technology respectively. I commence the thesis by exploring the idea of genre as collective memory. I position Harry Potter and His Dark Materials within the genre of heroic fantasy and examine how the monomyth provides readers with the memory triggers they require to decode the structure of these texts. The novels conform to and yet manipulate the preconceived patterns present in the heroic or "high" fantasy genre, where narrative, memory and identity are all linked by the desires of the stories' participants. Chapter Two applies Freud's concept of Nachtraglichkeit, which supposes the process of memory is one of incessant reconsideration or "retranslation", the reworking of memory traces in the light of later knowledge and experience. This conceptualisation of memory is compared to the common, but less productive, tendency to describe memory through objectifying metaphors, such as the idea that memory works analogously to a photograph. Chapter Three addresses how knowledge and experience in Harry Potter and His Dark Materials are furnished by prosthetic memory devices, such as photographs, the Pensieve, the alethiometer and the Amber Spyglass, “that permit us to transcend "raw" biological limits – for example, the limits on memory capacity or limits on our auditory range” (Bruner, Acts of Meaning 34). The novel's protagonists are then armed with these devices in trying to make sense of the landscapes they inhabit. Ultimately, we are all story-tellers (for better or for worse), weaving our self-narratives from material gleaned from the collective memories and prosthetic memory devices of the society we belong to, our own experiences, and the tales of others, trying to achieve the uniformity of consciousness and an awareness of the connection between the actions and events of the past, and the experience of the present, which are fundamental to a sense of individual identity.

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Ribeira, Rosalyn Joy. "The Hero's Mother". BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/7579.

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Sixteen-year-old Drea Grimm’s mother walked out of their family home at midnight seven years ago. All she left behind were notebooks full of made up stories and a family that Drea, being the oldest, was now in charge of. One day, Drea finds a mysterious letter with her name on it written in her mother’s handwriting and everything she thought was true is destroyed. With the help of her partner on a school project, Ian, Drea uses her mom’s stories and clues from her last moments to heal her family and maybe bring her mother home. But there is someone who wants Drea and they will do anything to draw her closer to the truth, and in turn, closer to supernatural danger.

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Dorsten, Sara E. "Priest of Wisdom: A Historical Novel Studying Ancient Greek Culture through Creative Writing". Ohio Dominican University Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1430788202.

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Bisco, Matteo <1995&gt. "Heroes and Monsters: The Faerie Queene Foreshadowing Modern Fantasy". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/16089.

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The present study is concerned with the relationship between The Faerie Queene and modern fantasy literature; Spenser's poem, a "continued Allegory, or darke conceit", repeatedly alludes to historical, political and religious issues that were objects of controversy at the time when it was written. Initially conceived as a twelve-book epic poem, it is set in the magical Faerie Land, where the Faerie Queene has sent her knights on various quests. More specifically, the issue addressed is whether, and to what extent, The Faerie Queene can be considered an ancestor of fully-developed modern fantasy. While there is general consensus that fantasy is a phenomenon that begins in the nineteenth century, some critical studies of the history of the genre mention The Faerie Queene in passing, but they do not dwell on this association. The first chapter presents a survey of the most compelling critical approaches to the genre, as well as an outline of its recurring themes; the second chapter attempts to chart the allegorical subtext of the poem, and analyzes the characters of Arthur, Redcrosse, Britomart and Calidore, concentrating on the aspects that put them in conversation with modern fantasy; in the last chapter the focus will shift to animals and fantastic creatures, another recurrent presence in The Faerie Queene and a stock feature of fantasy literature.

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Song, Zhaoxun. "Organizational heroes in storytelling : a fantasy theme analysis of two Chinese companies". HKBU Institutional Repository, 2004. http://repository.hkbu.edu.hk/etd_ra/537.

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Monte, Carlos Eduardo. "O herói do romance e o protagonista inativo : razões da inércia na construção de O deserto dos Tártaros, de Dino Buzzati /". Araraquara, 2019. http://hdl.handle.net/11449/182118.

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Orientador: Cláudia Fernanda de Campos Mauro
Banca: Aparecido Donizete Rossi
Banca: Karin Volobuef
Banca: Andrea Peterle Figueiredo Santurbano
Banca: Marisa Martins Gama-Khalil
Resumo: Esta tese tem como objetivo principal demonstrar que o protagonista do livro O deserto dos Tártaros (1940), de Dino Buzzati, está inscrito como um dos heróis representantes do limiar entre o modernismo e o contemporâneo. Giovanni Drogo é o herói que, no momento seguinte em que veste seu uniforme de oficial, experimenta um vazio existencial que o faz, em resposta, replicar: "Que coisa sem sentido!". Tomado desse sentimento, muitas vezes a inércia será a única resposta possível deste protagonista frente aos requerimentos cotidianos. A partir dessa premissa, articulando teoria literária, filosofia e contexto, arvoramo-nos em identificar as razões que fundam a heroicidade de Drogo. Após o prefácio, segue-se o capitulo de introdução, no qual tecemos algumas considerações acerca da figura do herói, procurando evidenciar como, nos séculos XVIII e XIX, esse conceito passa por perceptível modificação, graças à ascensão e sedimentação do romance, tal como hoje o conhecemos. Entremeiam a introdução e o capítulo final, três capítulos centrais que formam, em conjunto, a demonstração da tese defendida: de que as razões de Drogo respondem, necessariamente, a uma nova forma de se relacionar e conhecer o mundo. Resignação, recusa e renúncia associam-se em cada um destes capítulos, os quais se iniciam sempre a partir de uma cena fundamental, seguida de sua avaliação. Chegamos ao capítulo final com a possibilidade de identificar, não apenas a posição de Drogo como herói - atendendo, como um pró... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This thesis has as the main objective to show that the protagonist of the book The Tartar Steppe (1940), by Dino Buzzati, is registered as one of the representative heroes of the barrier between modernism and what would be considered contemporary. Giovanni Drogo is the hero that, right after he puts on his officer's uniform, experiments an existential emptiness that makes him, in response, state: "What a nonsense!". Taken by this feeling, often the inertia will be the only possible answer this protagonist will offer while facing daily requests. Starting from this premise, articulating literary theory, philosophy and context, we stand up to identify the reasons that establish the heroism of Drogo. After the preface, the introduction chapter follows, at which we develop some considerations about the image of the hero, trying to demonstrate how, during the 18th and 19th centuries, this concept goes through a noticeable modification, thanks to the ascension and sedimentation of the novel, as we know it today. Between the introduction and the final chapter are three main chapters that shape, together, the demonstration of the defended thesis: that the reasons of Drogo respond, necessarily, to a new way to connect and to discover the world. Resignation, refusal and renouncement connect to each of these chapters, which start always from a fundamental scene, followed by its examination. We reached the final chapter with the possibility of identifying not just the position o... (Complete abstract click electronic access below)
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Libri sul tema "Heroic fantasy"

Nigel, Suckling. Heroic dreams. Limpsfield, Surrey, Great Britain: Paper Tiger, 1987.

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Sims, Steve. Heroic warriors. London: Franklin Watts, 2011.

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Suckling, Nigel. Heroic dreams. London: Guild Publishing, 1987.

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Suckling, Nigel. Heroic dreams. Limpsfield: Paper Tiger, 1993.

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1930-, Bradley Marion Zimmer, a cura di. Sword and sorceress: An anthology of heroic fantasy. London: Headline Book Publishing, 1988.

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1930-, Bradley Marion Zimmer, a cura di. Sword and sorceress: An anthology of heroic fantasy. London: Headline, 1989.

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1930-, Bradley Marion Zimmer, a cura di. Sword and sorceress: An anthology of heroic fantasy. London: Headline, 1990.

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Zimmer, Bradley Marion, e Copyright Paperback Collection (Library of Congress), a cura di. Sword and sorceress VIII: An anthology of heroic fantasy. New York, N.Y: DAW Books, 1991.

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Zimmer, Bradley Marion, e Copyright Paperback Collection (Library of Congress), a cura di. Sword and sorceress V: An anthology of heroic fantasy. New York: Daw Books, 1988.

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Bradley, Marion Zimmer. Sword and Sorceress III: An anthology of heroic fantasy. New York, USA: DAW, 1986.

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Capitoli di libri sul tema "Heroic fantasy"

Tibbetts, John C. "The Heroic Age of Fantasy and Science Fiction". In The Gothic Imagination, 55–140. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230337961_3.

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Brode, Douglas. "Visionary Children and Child-like Heroes". In A Necessary Fantasy?, 327–41. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003248880-16.

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Petzold, Jochen. "Constructing and Deconstructing the Fantasy Hero: Joe Abercrombie’s “First Law” Trilogy". In Heroes and Heroism in British Fiction Since 1800, 135–50. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-33557-5_8.

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Kennedy, Kara. "Heroes and Masculinity". In Palgrave Science Fiction and Fantasy: A New Canon, 63–76. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13935-2_5.

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O’Brien, Daniel. "The Voyages of Sinbad: From Hollywood Cartoon Stooge to Global Fantasy Icon". In Muslim Heroes on Screen, 67–116. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74142-6_3.

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Freeman, Matthew, e Anthony N. Smith. "Transmedia Fantasy-JRPG: Kickstarter, Genre Leveraging and Eiyuden Chronicle: Hundred Heroes". In Transmedia/Genre, 119–36. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-15583-3_7.

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Palmer-Patel, C. "Introduction – Defining Heroic Epic Fantasy". In The Shape of Fantasy, 1–18. Routledge, 2019. http://dx.doi.org/10.4324/9780429199264-1.

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"The Case of Heroic Fantasy". In Fantasy and the Real World in British Children's Literature, 60–87. Routledge, 2014. http://dx.doi.org/10.4324/9781315858111-7.

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Skowron, Kinga. "Pokonać smoka i zdobyć Sixcalibur – obraz męskości w wybranych tekstach piosenek powermetalowych (na podstawie konwencji charakterystycznej dla podgatunku heroic fantasy)". In Obszary Polonistyki 7, 79–89. Wydawnictwo Uniwersytetu Rzeszowskiego, 2024. http://dx.doi.org/10.15584/978-83-8277-176-3_8.

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The main aim of the article is to present the way of depicting the theme of masculinity and bravery in lyrics of power metal songs, through references to heroic fantasy literature. The authoress shows how the perception of the concept of courage has changed over the centuries. She also characterizes specific elements that characterize heroic fantasy. Based on the analysis of selected examples of power metal song lyrics, she shows how metal bands refer to heroic fantasy and how it helps with placing the theme of bravery in their songs. The article also shows the phenomenon of intertextuality, related to this aspect.

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Sims, Alistair J. P. "The heroic biographies of Cú Chulainn and Connavar in the Rigante series". In Imagining the Celtic Past in Modern Fantasy. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781350350021.ch-4.

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Atti di convegni sul tema "Heroic fantasy"

Kowalski, Stewart, Eduard Von Seth e Erjon Zoto. "C.S. Technopoly: A Megagame for Teaching and Learning Cybersecurity". In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003724.

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In this paper we present our ongoing research where we are attempting to integrate sustainable development issues into a megagame designed to teach cybersecurity. There are several serious games that have been developed to teach and inform individuals about sustainability issues but none that deal specifically with both cybersecurity and sustainability issues. A Megagame is a multiplayer game with between 30-40 players who play in teams of 3-5 players that take on specific roles in dealing with complex problems that cover subject matters ranging from science fiction and heroic fantasy to political, economic, historical, and even cyber conflicts. We have built and tested a megagame entitled CS -Technopoly using the socio-technical framework of sustainability proposed by Geels and integrated it further with the Security by Consensus Model proposed by Kowalski. The intended learning objectives of the game, such as teaching adversarial and sustainable systems thinking by exposing the students to cyber threat intelligence reports and cyber security investments decision making, were tested by performing semi-structured interviews of a stratified sample of the participants. Preliminary results from 11 interviews from the two first trials of CS Technopoly indicate that the participating security experts found that C.S. Technopoly would be a useful tool for team building and improving collaboration between security departments and upper strategic management

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Borkina, Anastasia. "THE CHRONOTOPE OF ROAD IN THE WORKS OF JIPPENSHA IKKU (TŌKAIDŌCHŪ HIZAKURIGE) AND OKAMOTO KANOKO (TŌKAIDŌ GOJYŪSANTSUGI)". In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.35.

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In the center of the works studied, Tōkaidōchū hizakurige by Jippensha Ikku and Tōkaidō gojyūsantsugi by Okamoto Kanoko, lies a journey of the characters along the Tōkaidō road. Despite the fact that the two works are of different genres and are more than one hundred years apart from each other, the space of the Tōkaidō road is a common element for them, wherein the ways of expression of the chronotope of the road varies for both authors. The Tōkaidō road in Ikku’s work is a specific “anti- world” — a grotesque, carnival dimension, where sensuous pleasures and humor rule. The dimension here is discrete, the time in this chronotope is linear and “endless”. In Tōkaidō gojyūsantsugi, in opposite, amidst the Tōkaidō road, a “micro-world” of a heroine, a journey into the deepest layers of her soul is taking place. With the heroes of past and present, wandering along the road in reality and in fantasy, the heroine finally finds her own place in the changing world.

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Rapporti di organizzazioni sul tema "Heroic fantasy"

Бережна, Маргарита Василівна. Maleficent: from the Matriarch to the Scorned Woman (Psycholinguistic Image). Baltija Publishing, 2021. http://dx.doi.org/10.31812/123456789/5766.

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The aim of the research is to identify the elements of the psycholinguistic image of the leading character in the dark fantasy adventure film Maleficent directed by Robert Stromberg (2014). The task consists of two stages, at the first of which I identify the psychological characteristics of the character to determine to which of the archetypes Maleficent belongs. As the basis, I take the classification of film archetypes by V. Schmidt. At the second stage, I distinguish the speech peculiarities of the character that reflex her psychological image. This paper explores 98 Maleficent’s turns of dialogues in the film. According to V. Schmidt’s classification, Maleficent belongs first to the Matriarch archetype and later in the plot to the Scorned Woman archetype. These archetypes are representations of the powerful goddess of marriage and fertility Hera, being respectively her heroic and villainous embodiments. There are several crucial characteristics revealed by speech elements.

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