Bibliografie tematiche / Sieges – Fiction

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Letteratura scientifica selezionata sul tema "Sieges – Fiction"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Sieges – Fiction"

Soares, Leonardo Francisco. "ENTRE OS CERCOS: A 'ILÍADA' E A FICÇÃO DE ISMAIL KADARÉ | BETWEEN THE SIEGES: THE 'ILIAD' AND THE FICTION OF ISMAIL KADARE". Estudos Linguísticos e Literários, n. 55 (1 dicembre 2016): 64. http://dx.doi.org/10.9771/2176-4794ell.v0i55.17142.

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O objetivo deste artigo é refletir sobre as narrativas do escritor albanês Ismail Kadaré que dialogam com o universo dos poemas homéricos, em especial a epopeia Ilíada, e com os modos de composição desses poemas, com vistas a examinar o jogo intertextual estabelecido. Partimos de um trabalho com um corpus inicial composto por alguns romances selecionados da trajetória ficcional do autor. Em seguida, interessa-nos a questão da representação da guerra como elemento de conexão entre Ismail Kadaré e Homero, e, para tanto, aborda-se de modo mais detido o romance Os tambores da chuva (O castelo) (1970), que traz o tema da guerra e da própria questão da escrita da (sobre a) guerra.Abstract: This article reflects upon the narratives of the Albanian writer Ismail Kadare that engage with the universe of the Homeric poems, especially the Iliad, and with the modes of composition of these ancient poems in order to examine the intertextual play that goes on between Kadare and Homer. First, some selected novels are discussed that illustrate the fictional trajetory of Kadare. Secondly, the representation of war as a common element between Kadare and Homer is considered, with a particular focus on The Drums of Rain (The Siege) (1970), which develops the theme of war and the question of writing about it.

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Ellis, Steven G. "Siegecraft on the Tudor frontier: the siege of Dublin, 1534, and the crisis of the Kildare rebellion". Historical Research 92, n. 258 (9 ottobre 2019): 705–19. http://dx.doi.org/10.1111/1468-2281.12283.

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Abstract In retrospect, the turning point in the Kildare rebellion came with the rebels’ failure to capture Dublin, and the ordnance, shot and powder in the king's castle there, during the long siege in summer and autumn 1534, in part because, as this article argues, the city's capture had not initially been seen as an immediate priority. Kildare kept back most of his ordnance and gunners to defend Maynooth castle, and historians have focused instead on the brief siege and capture of Maynooth by the king's army in March. Richard Stanyhurst's description of the rebellion, written forty years later, includes much fiction and special pleading; but Dublin was Stanyhurst's native city, and his Chronicle provides the fullest account of the siege. It is here checked against available contemporary sources, suggesting that it is reliable.

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Thiel, Christian. "MATHEMATIKER IN DER SCIENCE FICTION". Годишњак Филозофског факултета у Новом Саду 42, n. 2 (15 gennaio 2018): 23–32. http://dx.doi.org/10.19090/gff.2017.2.23-32.

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Darstellung und Bewertung von sieben ausgewählten „science fiction stories“, in deren Zentrum Mathematiker oder unterhaltsame mathematische Probleme stehen, erlauben instruktive Blicke auf die Beziehung von Mathematik und Geisteswissenschaften, auf C. P. Snows „zwei Kulturen“ und die demgegenüber treffendere Diagnose von „half-cultured individuals“. Vorgeschlagen wird die Fortführung und Erweiterung der wegweisenden Analysen Knut Radbruchs zum Verhältnis von Mathematik, Dichtung und Literaturwissenschaft.

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Geesey, Patricia. "Algerian Fiction and the Civil Crisis: Bodies under Siege". World Literature Today 71, n. 3 (1997): 485. http://dx.doi.org/10.2307/40152809.

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Crowley, P. "Fictions biographiques: XIXe-XXIe siecles". French Studies 62, n. 4 (1 ottobre 2008): 513. http://dx.doi.org/10.1093/fs/knn116.

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Aguilar de León, Armando. "Des angles et des contours dans História do Cerco de Lisboa (une lecture parmi tant d'autres)". Anuario de Letras Modernas 14 (31 luglio 2009): 169–80. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.684.

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This paper analyzes the narrative structure and the literary elements that give Saramago’s novel its postmodern features, focusing in the plot and its uchronic perspective in order to appreciate the sci-fi dimension that the historical events take through the narrative. Our discussion examines the action of the principal character, Raymundo Silva, who proofreads a historical work titled The History of the Siege of Lisbon and decides to deny an important fact: "the crusaders did (not) help the Portuguese forces against the Moorish army". Added to the historical work, this não ("not", in portuguese) produces a disruption over the ‘real’ temporary line. In consequence, the city of Lisbon, at the centre of a meteorological phenomenon, slides in between the medieval siege and contemporary life. Thus, the historical subject resorts to a science fiction procedure: uchrony. Two intradiegetic symbols -the circle and the deleatur- represent the two overlapped universes; the circle refers to the historical world and the deleatur symbolizes the uchronic universe. Therefore, História do cerco de Lisboa is not a sci-fi work, but a postmodern historiographical metafiction.

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Bökös, Borbála. "Human-Alien Encounters in Science Fiction: A Postcolonial Perspective". Acta Universitatis Sapientiae, Film and Media Studies 16, n. 1 (1 agosto 2019): 189–203. http://dx.doi.org/10.2478/ausfm-2019-0010.

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Abstract An (un)conventional encounter between humans and alien beings has long been one of the main thematic preoccupations of the genre of science fiction. Such stories would thus include typical invasion narratives, as in the case of the three science fiction films I will discuss in the present paper: the Invasion of the Body Snatchers (Don Siegel, 1956; Philip Kaufman, 1978; Abel Ferrara, 1993), The Host (Andrew Niccol, 2013), and Avatar (James Cameron, 2009). I will examine the films in relation to postcolonial theories, while attempting to look at the ways of revisiting one’s history and culture (both alien and human) in the films’ worlds that takes place in order to uncover and heal the violent effects of colonization. In my reading of the films I will shed light on the specific processes of identity formation (of an individual or a group), and the possibilities of individual and communal recuperation through memories, rites of passages, as well as hybridization. I will argue that the colonized human or alien body can serve either as a mediator between the two cultures, or as an agent which fundamentally distances two separate civilizations, thus irrevocably bringing about the loss of identity, as well as the lack of comprehension of cultural differences.

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Reutova, M. A. "ALTERNATIVE HISTORY IN DRAMATIC POEM «THE SIEGE» BY YURY KOSACH: BETWEEN SPECULATION AND FICTION". Тrаnscarpathian Philological Studies 11, n. 2 (2019): 103–7. http://dx.doi.org/10.32782/tps2663-4880/2019.11-2.18.

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Ellerby, Janet Mason. "Fiction Under Siege: Rushdie's Quest for Narrative Emancipation in Haroun and the Sea of Stories". Lion and the Unicorn 22, n. 2 (1998): 211–20. http://dx.doi.org/10.1353/uni.1998.0023.

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Fusco, Virginia. "Narrative representations of masculinity. The hard werewolf and the androgynous vampire in "Anita Blake: Vampire Hunter Series"". Journal of English Studies 15 (28 novembre 2017): 71. http://dx.doi.org/10.18172/jes.3190.

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Laurell Hamilton in her “Anita Blake: Vampire Hunter Series” portrays a large community of monstrous creatures that populate a violent near-future American landscape. A number of critics have already explored the forms in which Anita, the leading heroine, emerges in the 1990s literary scene as a strong figure who challenges traditional narratives of female subordination and alters predictable romantic entanglements with the male protagonists (Crawford 2014; Veldman-Genz 2011; Siegel 2007; Holland-Toll 2004). Moving beyond this approach that centres on Anita, this paper explores the forms in which the author designs her male companions and lovers. Her choice of lovers suggests that there are multiple desires at play inHamilton’s popular fiction in relation to masculinity in the context of a heterosexual erotica. Following a methodological approach of cultural studies (Saukko 2003), this study seeks to illustrate how conflicting desires, emblemized by her plurality of lovers, represent a literary effect of paradoxical yearnings at play in contemporary white, middle-class American women’s lives.

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Tesi sul tema "Sieges – Fiction"

CHEBIL, BEN SALEM AMEL. "Typologie et poetique de l'incipit dans la fiction narrative du xixe et du xxe siecles". Université Marc Bloch (Strasbourg) (1971-2008), 1999. http://www.theses.fr/1999STR20012.

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Cette these s'inscrit dans le champ de la theorie du texte, et plus precisement dans ce mouvement critique specialise dans l'analyse des elements d'encadrement du recit. Elle se consacre en particulier a la question de l'incipit narratif dans le roman de la seconde moitie du xixe siecle et de la premiere moitie du xxe siecle. Ce travail se propose en premier temps de definir le texte de l'amorce, cet espace mouvant et variable d'un roman a l'autre, soulevant ainsi la problematique de la delimitation de l'incipit au sein du texte. Dans la seconde partie de la these, nous allons essayer de cerner une poetique de l'incipit romanesque, en analysant les differentes fonctions et strategies : la fonction de codification, les fonctions d'information et d'orientation, la fonction de seduction, la fonction de dramatisation, et finalement la fonction de deconstruction et de parodie de l'incipit traditionnel, prise en charge par les romans rattaches au mouvement contestataire du nouveau roman. La troisieme partie de la these est consacree d'une part a relever et analyser les relations intratextuelles que l'incipit entretient avec les autres structures du roman (paratexte et la cloture), d'autre part a situer l'incipit dans ses relations intertextuelles et surtout a relever une poetique de l'amorce romanesque qui traverse toute l'oeuvre du romancier (en l'occurrence, emile zola et louis aragon). La conclusion est thematique, elle porte sur la typologie des incipit qui demeure problematique et ouverte sur d'autres schemas inauguratifs non recenses. Au-dela des efforts de theorisation visant a reduire l'incipit a une rhetorique normative de l'inauguration, chaque incipit doit etre etudie en rapport avec l'esthetique et l'enjeu de son roman. Avec l'evolution ou l'involution du roman, nous nous trouvons confrontes a des incipit qui echappent a tout essai de theorisation et de typologie (cf. Le roman simonien)
This thesis is situated in the field of the theory of the text, more precisely in this critical mouvement, specialised in the analysis of the elements of the beginning and the end of the narrative. It is particularly dedicatec to the matter of the beginning of the narrative in the novel of the 2nd half of the 20th century and of the first half of the 20th century. We will first try define the beginning of the novel. It is a field, which vary from a novel to another. It raises the problem of the demarcation of the beginning of the text. In the second part of the thesis, we will try to draw a poetic of the beginning, analysing the different fonctions and strategies : the fonction of the "codification", the fonctions of information and orientation, the fonction of seduction, the fonction of the "dramatisation", finally the fonction of deconstruction and of parody of the traditionnal beginning of the novel. This latter fonction is generally found in the novels written by authors of the rebellious movement of the "nouveau roman". The third part of the thesis is dedicated, on the one hand, to analyse the connection between the different parts of the text, especially the ones that the beginning of a text has with other structures of the novel (elements around the text and the closure) it is dedicated, on the other hand, to situate the beginning of a text in its connections between the different novels of various novelists, to define a poetic of the beginning, which passes through all the novels of the same author (actually emile zola et louis aragon). The conclusion is thematic : it deals with the typology of the beginnings of the tyextx, which still raises a problem and i open on other inaugural schemes, which are not categoried. Beyond the efforts of the theorisation, which ains at reduce the beginning of the text to a normative rhetoric of the inauguration. Each beginning of a text has to be studied in relation to the aesthetic and the stake of its novel. With the evolution and involution of the novel, we are faced to the beginning of the text which passes out to all the attemps of theorisation and typology (confer to novels by claude simon)

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REGAM, ABDELHAD. "Les marges du texte : incipit, desinit et paratexte dans la fiction narrative francaise aux dix-neuvieme et vingtieme siecles". Paris 8, 1991. http://www.theses.fr/1992PA080686.

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A partir d'un corpus de 43 romans francais des dix-neuvieme et vigntieme siecles, il s'agit de decrire et d'interpreter le fonctionnement de ces marges du texte que sont l'incipit, le desinit et le paratexte, considerees separement d'abord, dans leurs rapports ensuite, en utilisant l'appareil methodologique structuraliste et l7analyse socio-historique, ceci dans le but de voir dans quelle mesure ces marges appartiennent a la zone d'un contrat de lecture, ou sont uniquement le respect des conventions d'un genre, ou revelent une operation de mise en sens. Il apparait alors que si les procedures utilisees se depassent mutuellement et sont parfois le lieu de leur propre contestation, dans leurs effets, elles impliquent la legalite du code qu'elles enfreignent, de meme qu'elles portent les traces de traits anciens, fondateurs du recit. Il y a donc a la fois ecart et persistance. Cette derniere releve du recit comme phenomene transculturel et transhistorique, dont les fondements resistent aux mouvements du roman. Et l'ecart traduit les transformations du roman, necessairement lie a l'evolution de l'histoire et de la societe
Taking as a base a corpus of forty three french novels of the 19th and 20th centuries, our aim is the description and interpretation of the functioning of these margins, the "incipit", the "desinit" and the paratext, considered separately and in their relations to each other. The structuralist methodology and the socio-historical analysis are the instruments used to see if these margins belong to an agreed on contract of reading, or if they are ximply the respect of the conventions of a genre, or they reveal an operation of meaning. It appears then that if the procedures used are no longer valid (operating) and are sometimes the object of their own contestation, their effects may therefore involve the legality of the code they transgress. They may also contain signs of ancient characteristics that underlie the narrative account. The matter that calls at the same time distance and persistence. This latter belongs to the narrative account as a transcultural and transhistorical phenomenon which the bases resist the mouvements of the novel. Also the distance, necessarily linked to the evolution of history and society, expresses the novel transformations

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Seidler, Andreas. "Der Reiz der Lektüre : Wielands Don Sylvio und die Autonomisierung der Literatur". Heidelberg Winter, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3055743&prov=M&dokv̲ar=1&doke̲xt=htm.

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Shrontz, Jason Matthew. "Truth in fiction in Lee Siegel's Love and other games of chance". 2008.

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Morey, Tracy Crowe. "History and fiction in the early modern Spanish siege play: Cervantes' "La Numancia", Lope's "El asalto de Mastrique", and Calderon's "El sitio de Breda."". 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=742128&T=F.

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Mihai, Corina M. ""No" - Jose Saramago's subversive creativity from The History of the Siege of Lisbon to The Stone Raft: voyages into the idea of national identity". Thesis, 2009. http://hdl.handle.net/10539/6226.

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Abstract This study outlines a reading of Saramago’s novels as tracing a reflective itinerary into history, questioning the modalities informing a contemporary consciousness, thus acknowledging and re–configuring the past. Through an interpretation of these narratives as ‘voyages into the idea of identity’ it is shown that they reveal a symmetrical pattern tracing the Portuguese national saga from its foundation myth in The History of the Siege of Lisbon to contemporary images of identity in The Stone Raft. In light of this, the analysis examines the subversive narrative strategies employed with regard to the interrogation of canonized historical facts that led to the construction of Portuguese cultural memory and identity. Although the discussion is particularly located within Portuguese texts, the issues raised are relevant within the broader context of Western civilization. It is argued that, within his fictional discourse, Saramago aims at a reformulation of the notion of identity, highlighting the importance of preserving and actively affirming one’s individuality. Drawing on the postmodern perspective of pluralism in the reconstruction of the past, this analysis explores the relationship between history, fiction, memory and identity as reflected in the narratives under discussion. The focus will be on the textual nature of historiography as well as on the relative character of memory, aspects suggesting the irretrievable nature of the past and the necessity of using various acts of supplementation, construction and invention when representing it. Furthermore, the dialogue between Saramago’s fictional canvass and the theoretical framework, drawing on the thinking of critics such as Hayden White, David Lowenthal, Tzvetan Todorov, Linda Hutcheon, is intended to situate Saramago’s stance viz–à-viz the truthfulness of historiography within the contemporary preoccupation with the representation and construction of the past with an eye to reflecting present needs.

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Libri sul tema "Sieges – Fiction"

Gárdonyi, Géza. Eclipse of the crescent moon. Budapest: Corvina, 1991.

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Johnstone, William W. Eyes of eagles. New York, NY: Kensington Pub. Corp., 1993.

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McAlister, George A. A time to love-- a time to die. San Antonio, Tex. (P.O. Box 101050, San Antonio 78201): Docutex, 1988.

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Berthold, Will. Auf den Strassen des Sieges: Roman. München: Engel Verlag, 1987.

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Milenković, Dragan. Fog over Sarajevo. Belgrade: MM CENTAR, 1994.

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Eickhoff, Randy Lee. Bowie: A novel. New York: Forge, 1998.

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Rainbolt, William. Moses Rose. Thomaston, ME: Dan River Press, 1996.

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Piglia, Ricardo. Plata quemada. Buenos Aires: Planeta, 1997.

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Saramago, José. História do cerco de Lisboa. 9^a ed. Porto, Portugal: Porto Editora, 2014.

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Harrigan, Stephen. The gates of the Alamo: A novel. New York: A.A. Knopf, 2000.

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Capitoli di libri sul tema "Sieges – Fiction"

Gülker, Carsten, e Joan Kristin Bleicher. "Pro Sieben — Portrait eines Fiction-Senders". In Programmprofile kommerzieller Anbieter, 113–28. Wiesbaden: VS Verlag für Sozialwissenschaften, 1997. http://dx.doi.org/10.1007/978-3-322-83276-4_5.

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Foss, Colin. "The Feuilleton at War". In The Culture of War, 71–96. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621921.003.0004.

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The nineteenth-century newspaper was a hybrid text, presenting both fact and fiction, often through reporting and the literary feuilleton respectively. The Siege of Paris upended daily life, making fact appear stranger than fiction, which led to a collapsing of the hybridity of newspapers, coalescing into one chronicle of the Siege. The press increasingly spread gossip dressed up as fact, fictionalized the news, and politicized fiction. Constantly rehashing and reframing the news, the press presented daily life itself as a departure from reality: the news itself became escapist.

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Shapiro, Arthur. "Chapter Eight: Privatization: Fad, Fraud, Fantasy and/or Fiction?" In Education Under Siege, 93–108. Rowman & Littlefield Publishers, 2013. http://dx.doi.org/10.5771/9781475803099-93.

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"Fiction or Non-fiction? Ottoman Accounts of the Siege of Nagykanizsa". In Tropes for the Past, 119–30. BRILL, 2006. http://dx.doi.org/10.1163/9789401200066_015.

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Akbari, Suzanne Conklin. "Incorporation in the Siege of Melayne". In Pulp fictions of medieval England. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526137593.00005.

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Conklin Akbari, Suzanne. "Incorporation in the Siege of Melayne". In Pulp Fictions of Medieval England, 22–39. Manchester University Press, 2004. http://dx.doi.org/10.7228/manchester/9780719063183.003.0002.

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Narin van Court, Elisa. "The Siege of Jerusalem and recuperative readings". In Pulp fictions of medieval England. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526137593.00011.

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van Court, Elisa Narin. "The Siege of Jerusalem and recuperative readings". In Pulp Fictions of Medieval England, 151–65. Manchester University Press, 2004. http://dx.doi.org/10.7228/manchester/9780719063183.003.0008.

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"IV. The Burden of Representation: Counter-Discourse through Cultural Texts in J. G. Farrell's The Siege of Krishnapur". In Fictions of India, 117–41. Edinburgh University Press, 2000. http://dx.doi.org/10.1515/9780585450827-007.

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Forter, Greg. "Tragedy, Romance, Satire". In Critique and Utopia in Postcolonial Historical Fiction, 96–140. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198830436.003.0003.

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This chapter challenges David Scott’s contention that we should shift from Romance to tragedy in recounting the history of colonialism’s overcoming. This shift in genre means, for Scott, moving from a pre-Foucauldian understanding of power to a Foucauldian view in which the institutions of colonial modernity produce the colonized subject—and hence, cannot be meaningfully overthrown. J. G. Farrell’s The Siege of Krishnapur and Marlon James’s The Book of Night Women subvert Scott’s oppositions and reveal the limits of his prescriptions. Farrell’s text develops a satirical form that, in its depiction of the Indian Mutiny, exposes British power-knowledge as an ideological mystification for which there is indeed an “outside”—namely, the Indians’ insurrectionary agency. James’s text shows how power on the colonial plantation relied on the spectacle of the scaffold rather than the insidious tentacles of disciplinary power. The scaffold functioned to prohibit both full humanity and interracial “love,” Enlightenment promises that only the violence of slave rebellion could hope to fulfil.

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