Letteratura scientifica selezionata sul tema "Sacred books – Fiction"

A swarm of books boasting William Shakespeare as a central character have hit the bookstands in recent years. The question is, why? In some books he is rather insipid, as if his brand is too hot to tamper with, and he is reduced to the status of a sacred cow. In other books he is too busy fighting for truth and justice to be bothered with taking up the quill, while in others, he is an opportunistic “Shake-scene” who has no qualms about “beautifying” himself with his contemporaries’ feathers. I propose to look at such works in the aggregate and determine the basic character traits that modern scribes attribute to our Will. My journey will take me primarily to novels (of the historical fiction school), but I shall be stopping along the way to consider works in other media, including a recent TV series, that also feature the Bard. Among the novelists included in my study are Patricia Finney (The James Enys Mysteries), Rory Clements (The John Shakespeare Mysteries), Benet Brandreth (The William Shakespeare Mysteries), and Leonard Tourney (The Mysteries of Shakespeare).

A swarm of books boasting William Shakespeare as a central character have hit the bookstands in recent years. The question is, why? In some books, he is rather insipid, as if his brand is too hot to tamper with, and he is reduced to the status of a sacred cow. In other books, he is too busy fighting for truth and justice to be bothered with taking up the quill, while in others, he is an opportunistic “Shake-scene” who has no qualms about “beautifying” himself with his contemporaries’ feathers. I propose to look at such works in the aggregate and determine the basic physical and character traits that modern scribes attribute to our Will. My journey will take me primarily to novels (of the historical fiction school), but I shall be stopping along the way to consider works in other media, including a recent TV series, that also features the Bard. Among the novelists included in my study are Patricia Finney (The James Enys Mysteries), Rory Clements (The John Shakespeare Mysteries), Benet Brandreth (The William Shakespeare Mysteries), and Leonard Tourney (The Mysteries of Shakespeare).

Abstract The maternal role and its associated practices were subject to much scrutiny throughout the Victorian period. Whilst motherhood was seen as the natural destiny of the (respectable) woman, mothers were nonetheless deemed in need of strict guidance on how best to raise their offspring. This was offered in an extensive range of advice and conduct books, via newspapers, journals, and fiction, and from medical practitioners, and covered pregnancy, childbirth, and all aspects of care for babies and young children. This article considers Victorian advice on infant feeding, focusing in particular on the various strategies deployed to encourage mothers to breastfeed. Advice literature for mothers frequently invoked patriarchal – religious, medical, and (pseudo-) scientific – authority, in line with broader Victorian discourses on femininity. Much of this advice was produced by, or drew on, the authority of (male) medical practitioners, whilst comparatively little emphasis was placed on maternal experience as a source of expertise. Set within the wider historical context of shifting trends in infant feeding, this article analyses the various persuasive techniques employed by the authors of advice literature, which ultimately served as an attempt to control women’s maternal behaviours and to suppress their own maternal authority.

AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publications, Augusta Browne “put herself into the text—as into the world, into history—by her own movement,” as feminist writer Hélène Cixous urged of women a century later. Browne maintained a presence in the periodical press for four decades in a literary career that spanned music journalism, memoir, humor, fiction, poetry, and Christian devotional literature, but one essay, “The Music of America” (1845), generated attention through the twentieth century. With much of her work now easily available in digitized sources, Browne's life can be recovered, her music experienced, and her prose reassessed, which taken together yield a rich picture of the struggles, successes, and opinions of a singular participant and witness in American music of her era.

Recent Indo-Anglican literature has also seen a burgeoning of the genre of urban crime fictions set against the backdrop of India’s modernizing metropolises. While explorations of the contemporary Indian city mostly consists of non-fictional, journalistic writings, like Katherine Boo’s Pulitzer winning book Behind the Beautiful Forevers, William Dalrymple’s City of Djinns and Suketu Mehta’s Maximum City, the genre also includes fictions like Altaf Tyrewala’s critically acclaimed debut novel No God in Sight, Vikram Chandra’s bestseller Sacred Games, Tarun Tejpal’s The Story of My Assassins, Hrish Sawhney’s volume of short stories Delhi Noir, Atish Tasser’s The Templegoers and others, which deal with the dark underside of the cities. Significantly, as rapid urban growth deepens existing disparities, a distinct rhetoric conflating impoverishment and criminality emerges, further justifying the exclusion of certain sections from the vision of urbanism. This paper looks at the representation of Delhi in Tarun Tejpal’s novel The Story of My Assassins, as a dystopic space riddled with contradictions of.

This study on religion and the contemporary Latin American novel traces the presence of the sacred starting with Federico Gamboa's Santa (1903) and ending with Roberto Bolaño's Los detectives salvajes (1998), placing the narratives discussed within the vast panorama of Western literature and thought. The author acknowledges that the relationship between religion and the novel may seem paradoxical "given the markedly secular nature of prose fiction in Western culture" (3). Yet, elements such as magic, the supernatural, wizards, among others, "bring it closer to the sacred" (4). The book also includes new readings of works by Borges, Bombal, Carpentier, Rulfo, Cortázar, Lezama Lima, García Márquez, Poniatowska, and Fernando Vallejo. Scholar Aníbal González offers a superb contextualization of 20th century Latin American literature within the tradition of Western literature and thought. His study is a must read for critics of Latin American literature and culture.

The article analyzes the mythological concept of Slavic paganism developed by Alexander Afanas’ev in his three-volume study Poetic Views of the Slavs on Nature: An Attempt at a Comparative Study of Slavic Traditions and Beliefs in Connection with the Mythical Tales of Other Related Peoples (1865–1869). In this book, Afanas’ev established numerous parallels between the pagan myths of the Slavs and other Indo-European peoples and reconstructed mythological images of the world tree, the tree of life, and the world egg. He also reconstructed myths about the sacred marriage between heaven and earth; the creation of the world from the body of the first man and the creation of man from the natural elements; the dying and resurrected god of vegetation and fertility; and the duel between the god of thunderstorms and his earthly adversary; as well as dualistic myths about the struggle between the forces of light and the forces of darkness and about the creation of the earth. Afanas’ev also explored enduring metaphorical pairs such as death–dream, battle–wedding feast, thunderstorm–battle, and so on. Depending on the readers’ points of view, they can appreciate the book as a grandiose compendium of folklore and historical-ethnographic materials; as a scholarly work devoted to Slavic mythology; as a symbolarium of folk culture; and as a beautiful fairy tale about the pagan past. Although Afanas’ev’s book has all the attributes of a scholarly publication, it can also be read as a work of fiction in which the author does not so much analyze mythology as he tries to present the point of view of a primitive poet–artist.

CairnsIn Denmark, the term stenkast (a ‘stone throw’) is used for cairns – stone heaps that have accumulated in places where it was the tradition to throw a stone. A kast (a ‘throw’) would actually be a more correct term, as sometimes the heaps consist of sticks, branches, heather, or peat, rather than stones – in short, whichever was at hand at that particular place. A kast could also consist of both sticks and stones.The majority of the known Danish cairns were presented by August F. Schmidt in 1929. Since then, numerous new ones have been discovered, and we now know of around 80 cairns, cf. the list on page 264 and map Fig. 3. It appears from the descriptions that the majority – a total of 65 – are actual cairns, 14 are heaps of branches, whereas two are described as either peat or heather heaps.Geographically, the majority – a total of 53 – are found in Jutland, with most in North and Central Jutland (Fig. 3). Fifteen are known from Zealand, four from Lolland, four from Funen, and five from Bornholm.Topographically, they are found – naturally – where people would normally be passing: next to roads and in connection with sacred springs, chapels, and places of execution. However, they also occur in less busy places, in woods, along the coast, on moors, and on small islands.A few cairns have been preserved because they are still “active” as reminiscences of customs and habits of past times. This is the case of the cairn called Røsen (“røse” being another Danish term for a cairn) on Trøstrup Moor (no. 45, Fig. 1-2), of Heksens Grav (“The Witch’s Grave”) (no. 27, Fig. 4), and of the branch heap in the wood of Slotved Skov (no. 14, Fig. 5), which was recently revived after having been almost forgotten. Other cairns are maintained as prehistoric relics, as is the case of the branch heap by the name of Stikhoben (“The Stick Heap;” no. 10, Fig. 6) and Kjelds Grav (“Kjeld’s Grave,” no. 59, Fig. 7). Although heaps of stones and branches are included in the Danish Protection of Nature Act as relics of the past worthy of protection, so far merely the two latter have been listed.Whereas the remaining ’throws’ of organic material have probably disintegrated, it is still possible under favourable conditions to retrieve those made from more enduring materials – unless they have been demolished – even if they have practically sunk into oblivion (Figs. 8-10).The oldest known cairn is almost 500 years old. It was situated by the ford Præstbjerg Vad in Vinding parish near the Holstebro-Ribe highroad. Tradition says that the stone heap came into existence as a memorial of a priest in Hanbjerg, who died in the first half of the 16th century following a fall with his horse.Such legends of origin are connected with most of the Danish cairns. They usually tell of some unhappy or alarming happening supposed to have occurred at the place in question. However, they are often so vague and stereotype that they can only rarely be dated or put into a historical context. Indeed, on closer examination several of them turn out to be travelling legends. Apart from the legend of the murdered tradesman, they comprise the legend of the exorcised farmhand and that of the three sisters, who were murdered by three robbers, who turned out to be their own brothers. The latter legend, which is also known from a folksong, is connected to the so-called Varper on the high moor in Pedersker parish on Bornholm (no. 7). Until the early 20th century, it was the custom to maintain these cairns by putting back stones that had fallen down and adorn them with green sprigs. Early folklorists interpreted this as a tradition going back to an old sacrificial ritual, although the custom also seems to have had a pure practical purpose, as these stone heaps were originally cairns marking the road across inland Bornholm.A special group of the Danish cairns are connected with the tradition that someone is buried underneath them, such as a body washed ashore, a murdered child from a clandestine childbirth, a murdered person, several persons killed in a fight, an exorcised farmhand, a suicide, a murderer buried on his scene of crime, or witches and murderers buried at the place of execution. In all these cases, the throwing of a stone was supposed to protect the passers-by against the dead, who was buried in unconsecrated grounds and thus, according to public belief, haunted the spot. Another far less frequent explanation was that the stone was thrown in order to achieve a good journey or luck at the market. In some places, the traveller would throw the stone while shouting a naughty word or in other ways showing his disgust with the dead witch, criminal, or infanticide buried in that particular place. In rather a lot of the cases, as explained by the context, the cairn was merely a memorial to some unhappy occurrence, and the stone was thrown in memory of the deceased.In an article on Norwegian cairns written by the folklorist Svale Solheim, the author attached importance to achieving a clear picture of the position of the cairns (kastrøysarne) in the landscape. A closer examination showed that almost all were situated by the side of old roads – between farms and settlements, through forests, or across mountains – in short, where people would often walk. “The cairns follow the road as the shadow follows the man,” Solheim writes and gives an example of an old road, which had been relocated, and where the cairns had been moved to the new road. Furthermore, the position of the cairns along the roads turned out to not be accidental; they were always found at places that were in one way or other interesting to the travellers. This is why Solheim thought that the stone heaps mostly had the character of cairns or road stones thrown together at certain places for a pure practical purpose. “For instance,” he writes, “we find stone heaps at places along the roads where there is access to fine drinking water. These would also be natural places for a rest, and numerous stone heaps are situated by old resting places. And so it came natural to mark these places by piling up a stone heap, and of course it would be in every traveller’s interest to maintain the heaps.”The older folklore saw the tradition as a relic of pagan rituals and conceptions. As a reaction to this, Solheim and others took a tradition-functionalistic view, according to which most folklore, as seen in the light of the cultural conditions, was considered rational and the rest could be explained as pseudo beliefs, for instance educational fiction and tomfoolery.However, if we turn to our other neighbouring country, Sweden, it becomes more difficult to explain away that we are dealing with sacrificial rites, as here, the most used dialectal term for the stone and branch piles were offerhög, offervål, or offerbål (“offer” is the Swedish word for sacrifice), and when someone threw stones, sticks, or money on the pile, it was called “sacrificing.” An article from 1929 by the anthropologist Sigurd Erixon is especially interesting. Here, he documents how – apart from the cairns with a death motive (largely corresponding to the Danish cases mentioned above), Sweden had both good luck and misfortune averting sacrificial stone throwing (Fig. 13).Whereas the sacrificial cairns connected to deaths were evenly distributed across the whole country, Erixon found that the “good luck cairns” occurred mainly in environments associated with mountain pasture farming or fishing. Based on this observation and desultory comparative studies, Erixon formed the hypothesis that the “good luck cairns” represented an older and more primitive culture than the cairns associated with sacrifices to the dead. “The first,” he writes, “belong rather more to the work area of hunting, fishing, and animal husbandry, roads, and environments, whereas the death sacrificial cairns seem to be closer related to the culture of agriculture.”The problem with the folkloristic material is that most of it is based on reminiscences. In order to study the living tradition, one must turn elsewhere. However, as demonstrated by James Frazer in “The Golden Bough,” this is no problem, as the custom of throwing stones in a pile is known from all over the world, from Africa, Europe, and Asia to Australia and America (Fig. 14).Customs last, their meanings perish – the explanation why, for instance, one must throw a stone onto a stone pile, may be forgotten, or reinterpreted, or get a completely new explanation. The custom probably goes back further than any known religion. However, these have all tried to tally the stone throwing with their “theology.” In Ancient Greece, the stone piles by the roadsides were furnished with statues of Hermes (in the shape of a post with a head and sometimes a phallus). As an escort for the dead, Hermes became the god of the travellers, and just as the gods had thrown stones after Hermes when he was accused of murdering Argus, people could now do the same.With the introduction of Christianity, the throwing of stones was denounced as superstition, and a standard question for the penitents in the so-called books of penance was: “Have you carried stones to a heap?” All across Europe, crosses were planted in the stone heaps – which must have caused problems as it was considered a deadly sin to throw stones after a cross. In the culture connected with pilgrimage, the cairns got a new meaning as markers of important places. For instance, enormous stone piles outside Santiago de Compostela mark the location where pilgrims first spotted the towers of the city’s cathedral (Fig. 15). At many places, the cairns were consecrated to saints, so that now people would carry stones to them as a sacrifice or a penance. The jews also adopted the custom. The Old Testament mentions stone heaps gathered over murdered persons or placed around a larger stone, as the “witness dolmen” built by Jacob and his people to commemmorate his pact with Laban, his father-in-law. However, there is no mention of throwing new stones onto these heaps. However, the latter occurs in the still practiced Jewish custom of placing stones on the gravestones when Jews visit the graves of their dead (Fig. 16).Stone throwing in a Muslim context is illustrated by Edward Westermarck’s large investigation of rituals and popular belief with the Berbers and the Arabs in Marocco in the early 20th century. Unfortunately, it only comprises cairns connected to Muslim saints, but even with this limitation, the investigation gives an idea of the variety of applications. If the stone heap is situated near the grave of a saint, it may mark the demarcation of the sacred area, or it may have come into existence because the wayfaring have a habit of throwing a stone when they pass the grave of a saint, which they do not have time to visit. If the heap is situated on a ridge, it is usually an indication of the spot on a certain pilgrim route where the sacred places become visible for the first time. Other stone heaps mark the places where a holy man or woman is supposed to have been buried, or rested, or camped some time. By a large crossroads outside Andira, Westermark was shown a stone heap, which indicated that this place was the gathering place for saints, who met there at nighttime. The sacred cairns in Marocco are often easily recognized by the fact that they are chalked white at intervals. At some places, the cairns may also be marked with a pole with a white flag symbolising the sacred character of the place.Even Buddhism struggled against the stone heaps, especially in the form of the oboo cult, which was repeatedly reformered and reinterpreted by Buddhist missionaries. And in early 17th-century South America, the converted aristocratic Inca, Felipe Guaman Poma de Ayala, made sarcastic remarks about Indians, who “even now” had preserved the bad habit of [sacrificing to] stone heaps (apachitas).”Historically, the Danish cairns can be documented from the 16th century, but the tradition may well be older. Seen in a larger, comparative context, heaps of stones and branches represent an ancient tradition rooted in the deepest cultural layers of mankind. Thus, as cultural relics, they are certainly worthy of preservation, and we ought to put a lot of effort into preserving the few still existing.Whereas it will probably be difficult to establish possible prehistoric stone heaps using archaeology, the possibilities of documenting hitherto unknown stone piles from historical times is considerably higher, if special topographic conditions are taken into consideration. In connection with small mounds on tidal meadows or stone heaps along stretches of old roads and by fords, old places of execution, springs, and grave mounds used secondarily for gallows, one should pay attention to such structures, which may well prove to be covering a grave.In a folklore context, the Danish stone heaps must be characterized as mainly “death sacrifice throws,” whereas only few were “good luck throws.” Due to the limited size of the country, and early farming, cairns and other road marks have not played the same role as a help for travellers and traffic as it did in our neighbouring countries with their huge waste areas.If the stone piles are considered part of a thousands of years old chain of traditions, they belong to the oldest human “monuments.” The global distribution of the phenomenon endows it with a mystery, which, during a travel in Mongolia, Haslund-Christensen caught with a stroke of genius: “We stood before an oboo, one of the largest I have ever seen...one of those mysterious places of sacrifice which are still secretly preserved, built of stone cast upon stone through many generations; a home of mystery which has its roots in the origin of the people itself, and whose religious significance goes much further back in time than any of the religions in the modern world.”Gustav HenningsenDansk Folkemindesamling Jesper LaursenMoesgård Museum Translated by Annette Lerche Trolle

В статье рассматриваются богословие, композиция и литературная форма сюжетов, входящих в состав Пролога книги Бытия (1, 1-11, 26). Во второй половине XIX - начале XX вв. в результате появления Документальной гипотезы и сопоставления Священного Писания с литературными памятниками Древнего Ближнего Востока большая часть сюжетов, составляющих Пролог, была объявлена мифами и древнееврейским фольклором (Ю. Велльгаузен, Г. Гунекель, Дж. Фрезер). Кроме выявленных ближневосточных параллелей, новому отношению к повествованиям Пролога книги Бытия способствовали: отсутствие в нём ясно выраженной исторической задачи и символичность изложения. Защищая традиционный взгляд на Пролог как на священную историю и пророческое откровение, епископ Кассиан (Безобразов) предложил рассматривать все библейские сюжеты, содержащие теофанию, как метаисторию. Протоиерей Сергий Булгаков, А. Ф. Лосев, Б. П. Вышеславцев, занимавшиеся феноменом мифотворчества, назвали библейское повествование о начале мироздания мифом, но в ином смысле, чем это делали Г. Гункель и Дж. Фрезер. Они обосновали новый положительный взгляд, согласно которому миф не есть выдумка или фантазия, а реальность, основанная на мистическом опыте. В статье анализируется каждый из перечисленных терминов: «история», «миф», «метаистория» применительно к Прологу, а также рассматривается возможность их согласования с традиционным церковным взглядом на эту часть книги Бытия. The article deals with the theology, composition and literary form of the narrations which constitute the prologue part of the book of Genesis (1, 1-11, 26). During the second half of the 19th and at the turn of the 20th cent., following the emergence of the Documentary hypothesis as well as the comparison of the Holy Scripture with the newly-discovered literary monuments of Ancient Near East, the greater part of the narrations that constitute the Prologue were labeled myths and ancient Hebrew folklore (J. Wellhausen, H. Gunkel, J. Frazer). In addition to the then detected Near Eastern parallels, this new attitude towards the narrations of the Prologue was fostered by its lack of a clearly expressed historical dedication and the symbolic form of their exposition. Defending the traditional view of the Prologue as sacred history and prophetic revelation, bishop Kassian (Bezobrazov) proposed to consider all the biblical narrations that contain theophanies as metahistorical. Archpriest Sergey Bulgakov, A. F. Losev and B. P. Vysheslavtsev, who analyzed the phenomenon of myth-making, called the Biblical narration of the origins of the world a myth, but in a sense different from that proposed by Gunkel and Frazer. They have founded a new and positive conception according to which a myth is not fiction but rather a kind of reality based upon mystical experience. The author of the article analyzes each of the terms enumerated - «history», «myth», «metahistory» - in their use relating them to the Prologue; he also examines the possibility of their harmonizing with the traditional ecclesiastical view of this part of the book of Genesis.

В статье рассматриваются богословие, композиция и литературная форма сюжетов, входящих в состав Пролога книги Бытия (1, 1-11, 26). Во второй половине XIX - начале XX вв. в результате появления Документальной гипотезы и сопоставления Священного Писания с литературными памятниками Древнего Ближнего Востока большая часть сюжетов, составляющих Пролог, была объявлена мифами и древнееврейским фольклором (Ю. Велльгаузен, Г. Гунекель, Дж. Фрезер). Кроме выявленных ближневосточных параллелей, новому отношению к повествованиям Пролога книги Бытия способствовали: отсутствие в нём ясно выраженной исторической задачи и символичность изложения. Защищая традиционный взгляд на Пролог как на священную историю и пророческое откровение, епископ Кассиан (Безобразов) предложил рассматривать все библейские сюжеты, содержащие теофанию, как метаисторию. Протоиерей Сергий Булгаков, А. Ф. Лосев, Б. П. Вышеславцев, занимавшиеся феноменом мифотворчества, назвали библейское повествование о начале мироздания мифом, но в ином смысле, чем это делали Г. Гункель и Дж. Фрезер. Они обосновали новый положительный взгляд, согласно которому миф не есть выдумка или фантазия, а реальность, основанная на мистическом опыте. В статье анализируется каждый из перечисленных терминов: «история», «миф», «метаистория» применительно к Прологу, а также рассматривается возможность их согласования с традиционным церковным взглядом на эту часть книги Бытия. The article deals with the theology, composition and literary form of the narrations which constitute the prologue part of the book of Genesis (1, 1-11, 26). During the second half of the 19th and at the turn of the 20th cent., following the emergence of the Documentary hypothesis as well as the comparison of the Holy Scripture with the newly-discovered literary monuments of Ancient Near East, the greater part of the narrations that constitute the Prologue were labeled myths and ancient Hebrew folklore (J. Wellhausen, H. Gunkel, J. Frazer). In addition to the then detected Near Eastern parallels, this new attitude towards the narrations of the Prologue was fostered by its lack of a clearly expressed historical dedication and the symbolic form of their exposition. Defending the traditional view of the Prologue as sacred history and prophetic revelation, bishop Kassian (Bezobrazov) proposed to consider all the biblical narrations that contain theophanies as metahistorical. Archpriest Sergey Bulgakov, A. F. Losev and B. P. Vysheslavtsev, who analyzed the phenomenon of myth-making, called the Biblical narration of the origins of the world a myth, but in a sense different from that proposed by Gunkel and Frazer. They have founded a new and positive conception according to which a myth is not fiction but rather a kind of reality based upon mystical experience. The author of the article analyzes each of the terms enumerated - «history», «myth», «metahistory» - in their use relating them to the Prologue; he also examines the possibility of their harmonizing with the traditional ecclesiastical view of this part of the book of Genesis.

Where Infinite Jest had allowed Wallace to go continually inside the calculating minds of addicts and consumers to find evidence of diminishing returns and enslavement, he turned to taxes in order to place in the background of his next novel innumerable arcane terms of valuation, transaction, and reconciling, the million acts of book-balancing that go on constantly at the IRS. Oblivion’s wariness about the saving power of work receives new accents in this examination of ascetics, and by elaborating anew my central terms of work, value, and political rhetoric, I add nuance to readings that have already characterized the novel as a history of the rise of neoliberalism. In more specific terms, the chapter takes up three main threads: first, a re-energized role for ritual, a trope taken from DeLillo, as Wallace depicts his priestly accountants at sacred work. Second, a re-reading of forms of paper value in a neoliberal society, centered on contracts (a concern I unpack in previous chapters as well) and the values inscribed on currency, here elaborated in the novel’s many scenes that encode a Freudian intermingling of money and waste. Third, Wallace’s final rendition of axiology in passages about human attention’s comparative valuing of details, as explored through competing models of relevance and what the author-persona calls “the exact size and shape of every blade of grass in my front lawn” – one last image of the ground fiction forms.

This chapter discusses how fiction’s religion influences the readers’ own spiritual patency irrupting from an engagement with the fictional. In examining the fictitious scriptures of several comics works, this chapter arrives at a theory suggesting that these imagined sacred texts, these “fictoscriptures,” may allow us a new path for contact with our own sacred. There are seven observed traits of most fictoscriptures: archaic diction, kephalaiacparatext, prophetic revelation, rarity, stylized font, coded gnosis, and actualization. Fictoscriptures may direct an audience’s attention downward, even as they simultaneously redirect focus upward, toward not only the authors and authorities of the would-be prophesies but also beyond to the sacred. The best example, the truest metaphor, may be the wormhole. Drive one’s attention downward toward the fictoscripture, toward the profane and material comic book, and enough of a focus could, theoretically, connect one to the wormhole sacred.

This chapter serves as a theoretical and methodological framework for the book. The central discussion examines Patricia Leavy’s argument of how writing is itself a performative act that intersects with knowledge in ways that go beyond traditional data. Critically to the book, this chapter extends James Clifford’s definition of the term true fiction. The authors also offer the additional term choreographed narrative. They describe their application as fieldwork methods. In order to open up possibilities of other ways of knowing—the imaginative, the sensuous, the aesthetic—the authors rely on particular performances of writing (true fiction and choreographed narrative) in order to posit a notion of writing, regardless of genre (e.g., literary, scientific), as both a method of research and a method of performance.