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Artykuły w czasopismach na temat "Dark romance, fiction"
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Adamik, Verena. "Making worlds from literature: W.E.B. Du Bois’s The Quest of the Silver Fleece and Dark Princess". Thesis Eleven 162, nr 1 (luty 2021): 105–20. http://dx.doi.org/10.1177/0725513621993308.
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While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims.
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Stanko, D. V. "TYPOLOGICAL PECULIARITIES OF ENGLISH FAN FICTION". Writings in Romance-Germanic Philology, nr 1(48) (5.07.2022): 125–30. http://dx.doi.org/10.18524/2307-4604.2022.1(48).259820.
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The article highlights typological features of the English fanfiction. The work offers a brief outline of history, main forms and modern trends in fan fiction studies as a genre of web literature. The relevance of the study of fan fiction is due, above all, to the fact that these works are a bright example of the so called live language. They reflect all modern language trends, express the musical, literary and film preferences of the society. In addition, fan fiction is an understudied phenomenon that has existed in various forms, but has received the greatest impetus in development only in recent decades. The term fan fiction is defined as a kind of creativity of fans of popular works of art, a derivative literary work based on any original work that uses its ideas of the plot and characters. It is the type of mass literature, created on the basis of a work of art by fans of this work, which do not pursue commercial purposes and are intended for reading by other fans. In the course of the research it has been established that the genre of fanfiction is a group of works written on a certain topic: Action; Adventure; Detective; Romance; Fluff; Humour; Dark; Deathfic; Angst; PWP (Plot, What Plot?). To denote all the other characteristic features of the work, the authors use the term "category". Categories classify works according to certain characteristics, in particular, according to the original source (fanfiction that corresponds to the realities of the original world, Alternative Universe and Crossover); according to the presence of a love line (General audience, Heterosexual, Slash); according to the presence of fictional characters (Original character, Self-insertion). A unique form of fan fiction is Songfic - a work based on a single song, which is quoted by the author in the story. The perspective of this study is the analysis of structural, stylistic and pragmatic features of fan fiction discourse.
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Hochscherf, Tobias. "A Casablanca of the North? Stockholm as imagined transnational setting in the British spy thriller Dark Journey". Journal of Scandinavian Cinema 9, nr 3 (1.09.2019): 329–47. http://dx.doi.org/10.1386/jsca_00007_1.
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The article examines the largely forgotten British émigré film Dark Journey, its Swedish setting and Scandinavian release. The spy drama, which tells the story of German and French secret agents in Stockholm during World War I by mixing thriller elements with romance, raises a number of questions regarding the representation of spies in a Scandinavian context, Sweden as a contested film market in the later 1930s and the transnational production strategy of films made at the Denham studios in Britain. It is one of the films that helped the profession of secret agents to change its image from a dingy and unchivalrous activity to an adventurous, illustrious and cosmopolitan enterprise. Interestingly, the film offers a very positive portrayal of its German protagonist, played by Conrad Veidt, that is at odds with other Anglo-American spy films but not at all uncommon for Swedish spy fiction.
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Monnickendam, Andrew. "Getting it All in the Right Order: the Love Plot, Trauma and Ethical Uncertainty in Rachel Seiffert’s Afterwards". Revista Alicantina de Estudios Ingleses, nr 29 (15.11.2016): 183. http://dx.doi.org/10.14198/raei.2016.29.10.
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This article analyzes Seiffert’s Afterwards (2007), which, in marked contrast to her debut publication, The Dark Room (2001), has received scarce critical attention. Set in anodyne suburbia, Afterwards narrates the fate of two unglamorous ex-combatants and their trauma. Seiffert’s complex narrative binds together romance and PTSD in a double plot that intertwines the fate of a “squaddy” involved in a shooting incident in the Northern Ireland Troubles with that of a former RAF officer stationed in colonial Kenya. This article argues that beyond subjective issues of judgment, Seiffert shows an awareness that modern romance cannot combine with trauma, as the idea of healing is nonsensical in a world ruled by ethical uncertainty. Furthermore, Seiffert’s examination of trauma indicates that in fiction –as in life– author and reader have to confront questions of guilt, responsibility and the absence of forgiveness. Seiffert, drawing on ideas similar to Primo Levi’s, concludes the novel with the tragic irony that the more humane the perpetrator, the more distant closure becomes, leaving her main character locked in trauma and the reader ensnared in uncertainty.
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Sahni, Vaasvi, i Surbhi Saraswat. "Exploring Gender, Sexuality and Cultural Understanding of Witchcraft in Nora Roberts “Dark Witch”, Melissa de la Cruz “Witches of East End” and Anne Rice “The Witching Hour”". International Journal of English Literature and Social Sciences 9, nr 2 (2024): 227–29. http://dx.doi.org/10.22161/ijels.92.33.
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This study explores the complex ways that three well-known novels—Anne Rice's "The Witching Hour," Melissa de la Cruz's "Witches of East End," and Nora Roberts' "Dark Witch"—present gender, sexuality, and cultural viewpoints on witchcraft. Every book is a different fusion of romance, fantasy, and fiction that incorporates witchcraft into a variety of cultural settings. The examination looks at how the writers deal with gender norms in the setting of witchcraft, with a focus on how they represent female protagonists and their autonomy in magical worlds. The study also examines how sexuality is portrayed, looking into how romantic and sexual interactions are portrayed in the context of witchcraft and whether these depictions upend or support conventional standards. A key component of every story is cultural awareness, with an emphasis on the ways in which the writers integrate mythology, folklore, and cultural customs pertaining to witchcraft. The impact of cultural circumstances on the identities and magical practices of the characters, as well as the cultural authenticity and sensitivity with which these elements are portrayed, are all closely examined in this study. This study attempts to provide light on the various ways that modern literature examines and explains gender relations, sexuality, and cultural understanding within the context of witchcraft by contrasting and analyzing these three books. The findings clarify the intricate interactions between fantasy components and actual cultural, gender, and sexual dynamics, adding to the larger conversation on representation and diversity in fiction.
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Stanko, D. V. "LINGUAL FEATURES OF ENGLISH FAN FICTION". Writings in Romance-Germanic Philology, nr 2(49) (16.01.2023): 171–78. http://dx.doi.org/10.18524/2307-4604.2022.2(49).268210.
Pełny tekst źródłaStreszczenie:
The article highlights lingual features of the English fanfiction. The work offers a brief outline of history, main forms and modern trends in fan fiction studies as a genre of web literature. The relevance of the study of fan fiction is due, above all, to the fact that these works are a bright example of the so called live language. They reflect all modern language trends, express the musical, literary and film preferences of the society. In addition, fan fiction is an understudied phenomenon that has existed in various forms, but has received the greatest impetus in development only in recent decades. The term fan fiction is defined as a kind of creativity of fans of popular works of art, a derivative literary work based on any original work that uses its ideas of the plot and characters. It is the type of mass literature, created on the basis of a work of art by fans of this work, which do not pursue commercial purposes and are intended for reading by other fans. In the course of the research it has been established that the genre of fanfiction is a group of works written on a certain topic: Action; Adventure; Detective; Romance; Fluff; Humour; Dark; Deathfic; Angst; PWP (Plot, What Plot?). The analysis of the linguistic features of the nominative system of English fanfiction showed that it performs a number of important functions: communicative, nominative, emotional-evaluative, expressive, phatic, signalling/identification. The most significant quality/property of fan fiction is the “secondary nature” of fan creativity, in connection with which one of the key research tasks is the study of the relationship between the original text and fan fiction. It is interesting that fanfiction from the standpoint of literary studies/linguistics is initially evaluated as a phenomenon that belongs to the lowest manifestations of paraliterature and therefore does not deserve serious attention. However, determining the place and status of fan fiction in the modern speech process is one of the tasks, the solution of which is relevant for researchers. The perspective of this study is the analysis of structural, stylistic and pragmatic features of fan fiction discourse.
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Repenkova, Maria M. "On the coordinate change in the Turkish literary process". Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, nr 1 (2024): 222. http://dx.doi.org/10.31857/s086919080029201-8.
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Abstract: In this study, the author examines the literary landscape in Turkey given the new dimension opened by the vertical gradation of fiction. The division of literature into high literature (classic), middle-tier (Belles-lettres), and low-tier literature (for mass consumption) is becoming increasingly prominent. Belles-lettres seems to be the most mobile of those, with its representatives being able to, over time, find themselves both at the top and the bottom rung of this paradigm. Zülfü Livaneli's works straddle the line between the high literature and belles-lettres, while books by Barış Müstecaplıoğlu are a perfect example of mass literature becoming regarded as belles-lettres. Another productive approach is horizontal gradation – dividing modern Turkish literature into genres. This is especially true for mass literature, where a clear classification into genres and subgenres is pretty much a precondition for existence. The study singles out such genres of mass literature as detective novels, women's romance novels, and historical adventure novels. Speculative fiction occupies a special place in this, with its genre affiliation being a topic of major discussions. The Turkish literature of the 2000s features several principal genres of speculative fiction: sci-fi (K. Kutlu, G. Berkkan, H. Balçı) with alternative history being a part of such (G. Dayıoğlu, H. Kakınç); fantasy with its subgenres of urban fantasy (S. Yemni, S. Atasoy, G. Elikbank, F. O. Şeran, C. Yücel), "sword and sorcery" fantasy (B. Müstecaplıoğlu, A. Aras, G. Canbaba) and dark fantasy (S. Ersin, G. Öğüt), as well as the genre of dystopia (A. Şaşa). In conclusion, the author argues that analyzing literary pieces necessitates operating with both the vertical and horizontal paradigms simultaneously.
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Ravetti, Graciela, i Eulálio Marques Borges. "A Río Fugitivo de Edmundo Paz Soldán: uma cidade distópica? / The Río Fugitivo of Edmundo Paz Soldán: A Dystopian City?" Caligrama: Revista de Estudos Românicos 25, nr 1 (30.04.2020): 135. http://dx.doi.org/10.17851/2238-3824.25.1.135-150.
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Resumo: Este é um estudo sobre dois romances do escritor boliviano Edmundo Paz Soldán, Sueños Digitales (2000) e El delirio de Turing (2005 [2003]), destacando os tópicos da (1) urbe dividida entre um centro urbano caótico e uma periferia escura e (2) um governo federal com ares totalitários, aspectos pouco abordados até então pela crítica literária especializada. Objetivamos mostrar como a fictícia cidade de Río Fugitivo, onde transcorrem as histórias de Sueños Digitales e El delirio de Turing, funciona como uma espécie de microcosmo dos centros urbanos latino-americanos que conhecemos ao incorporar, parcialmente, em sua construção e em sua dimensão, características pertencentes a um subgênero da ficção científica contemporânea conhecido como cyberpunk. De acordo com nossa perspectiva, não se trataria de obras de ficção científica, mas sim com ficção científica, – gênero pelo qual o autor sempre demonstrou interesse.Palavras-chave: ficção científica; cyberpunk; distopia; Río Fugitivo; Paz Soldán.Abstract: This is a study of two novels by Bolivian writer Edmundo Paz Soldán, Sueños Digitales (2000) and El delirio de Turing (2005 [2003]), underlining the topics of (1) a city divided between a chaotic urban centre and a dark suburb and (2) a federal government leaning towards totalitarianism, elements that are yet to be widely explored by literary critics. The aim is to point out how the fictional city of Río Fugitivo, where the narratives of Sueños Digitales and El delirio de Turing are set, plays the role of a microcosm of the Latin American centres we know by partially incorporating, in the construction and dimension of the novels, characteristics that belong to the subgenre of contemporary science fiction known as cyberpunk. From this point of view, the books studied here would not be considered science fiction works but works containing the genre, which has always interested Soldán.Keywords: science fiction; Cyberpunk; dystopia; Río Fugitivo; Paz Soldán.
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Sengupta, Oishani. "The Brown Adventure Romance: Chander Pahar and the Management of Racial Capital". Verge: Studies in Global Asias 10, nr 1 (marzec 2024): 73–107. http://dx.doi.org/10.1353/vrg.2024.a922359.
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Abstract: Can the archetypal imperial adventurer—the hero of empire's interlinked fictions of discovery and conquest—be brown? This question finds expression in a genre of Bengali literature yet to receive significant scholarly attention. Rather than viewing these novels as a case of Bengal "writing back" to the British genre of the imperial romance, I read them as enquiries into the turbulent shifts of race, migration, and fractured self-fashioning in the age of decolonization. Through a closer look at Bibhutibhushan Bandyopadhyay's Chander Pahar or The Mountain of the Moon (1937), the essay demonstrates how traces of indentureship and coolie labor as abject and elided forms of brown/ness fracture both the category of the brown expeditioner and its effect on the stereotypes of the dark continent.
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Flothow, Dorothea. "Historical Crime Fiction as Popular Historiography". Crime Fiction Studies 1, nr 2 (wrzesień 2020): 203–20. http://dx.doi.org/10.3366/cfs.2020.0021.
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Due to the current history boom in the UK, which manifests itself in the conspicuous popularity of historical novels, costume dramas, and in rising visitor numbers to museums, the study of popular historiography has become a growing and vibrant field. Popular historiography formats such as costume dramas, historical romances, and re-enactments have been recognised as a key influence on the public's knowledge of the past. Consumed informally and voluntarily, entertaining and easily accessible, popular histories are often more significant for the public's perception of ‘historical fact’ than ‘academic’ forms of historiography. This article examines historical crime fiction as a genre of popular historiography with a special focus on recent novels set in the late seventeenth century, a period that has lately been the focus of a number of exciting crime series. As a genre mostly written to a formula, concentrating on a narrow theme (i.e. crime and violence), and typically showing the life of ‘the mean streets’, crime fiction has a genre-specific view of the past. Due to its focus on the everyday, it shows aspects of history which are particularly popular with a wider public. Additionally, as it is frequently preoccupied with history's dark secrets, crime fiction is especially suited to re-writing established images of the past.
Książki na temat "Dark romance, fiction"
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Fulton, Jennifer. Dark valentine: A dark vista romance. New York: Bold Strokes Books, 2007.
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Etherington, Wendy. After dark. Toronto: Harlequin, 2009.
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Etherington, Wendy. After Dark. Toronto, Ontario: Harlequin, 2009.
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Joyce, Brenda. Dark Seduction. Toronto, Ontario: HQN, 2007.
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Klein, K. C. Dark future. [New York, N.Y.]: Avon Impulse, 2011.
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Harbaugh, Karen. Dark enchantment. New York, NY: Bantam Dell, 2004.
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Robards, Karen. Dark Torment. New York: Grand Central Publishing, 2001.
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Robards, Karen. Dark torment. Thorndike, Me: Center Point, 2002.
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Du Bois, W. E. B. Dark princess: A romance. Jackson, MS: Banner Books, 1995.
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Reinke, Sara. Dark hunger. New York: Zebra Books/Kensington Pub., 2008.
Znajdź pełny tekst źródłaCzęści książek na temat "Dark romance, fiction"
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"DARK ROMANCE AND DU MAURIER’S GOTHIC KERNOW". W Gothic Kernow: Cornwall as Strange Fiction, 11–30. Anthem Press, 2022. http://dx.doi.org/10.2307/j.ctv26fw7z3.4.
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Haidarali, Laila. "Browning the Dark Princess". W Brown Beauty, 193–224. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479875108.003.0005.
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Chapter 5 explores how brownness appeared in Harlem Renaissance fiction as an index of growing sentiments around transnational activism. Focusing on W. E. B. DuBois’s novel, Dark Princess: A Romance (1928), this chapter analyzes the novel’s narrative device of brownness with a focus on the representation of an Asian Indian princess as the main female protagonist and love interest of the African American male hero. This chapter also explores DuBois’s intellectualizing on the “race concept”; it highlights the political, social, and legal shifts in understandings of race while considering how these meanings shaped views of New Negro womanhood.
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Ball, Warwick. "On Board the Dawn Treader". W East of the Wardrobe, 132–64. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197626252.003.0005.
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Epics and fabulous voyages—the idea of quests in the Chronicles—Sindbad, John Mandeville, the Voyage of Argo, the Kalevala, the Epic of Gilgamesh, and the Alexander Romance—flying horses and magic carpets—Persian gardens, the Hanging Gardens, and the Garden of Eden behind enchanted gardens and paradise themes in Narnia—the Marsh Arabs and the origin of the Marsh-wiggles—underworld journeys in Lewis, Philip Pullman, and the Alexander Romance—China, Father Time, and first hints of Zoroastrianism—dark islands and light and darkness—the Seven Sleepers—monopods—the Seven Sleepers of Ephesus—the utter East, the beginning of the end of the world, science fiction, and the centre of the universe.
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Connor, John T. "Memories of Spain in Sylvia Townsend Warner and John Cowper Powys". W Mid-Century Romance, 124–61. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191953057.003.0004.
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Abstract This chapter pairs Sylvia Townsend Warner and John Cowper Powys as mid-century Left historical novelists, neither of whom quite neatly inhabited the national-popular form of the genre: Powys as a former communist fellow-traveller turned anarchist, and Warner as a ‘Third Period’ recruit to the Party whose primary allegiance was to the cause of peasant struggle and revolution in the countryside. Both writers were passionate about the Civil War in Spain, however, and it was to raise awareness and funds for the Republican side that in 1937 they briefly shared a Communist Party stage. The chapter records the impress of Spain on their major fictions of the 1940s. It reads Powys’ dark-age romance Porius (1951) as a sophisticated reckoning with the ethics of historical agency anchored in the failure of the anarchist social experiment in Catalonia, and Warner’s The Corner That Held Them (1948) as a fable of feudalism.