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1
Mackenzie, Caroline. "The Chicken Coup". Small Axe: A Caribbean Journal of Criticism 23, nr 2 (1.07.2019): 89–99. http://dx.doi.org/10.1215/07990537-7703318.
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Poking fun at the traditional American style of hard-boiled crime fiction, this satirical piece follows two misogynistic bounty hunters through the Trinidadian rainforest as they track down the people responsible for humiliating a ruthless mogul of the poultry industry. But the bounty hunters get more than they bargained for when they finally come across the culprits—they discover that now the chickens abused by the poultry mogul are fighting back. Rich with feminist metaphor, this surreal short story emphasizes how even the most seemingly innocuous chicks can overcome the domination and control of old-school chauvinistic thinking.
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Hauan, Marit Anne. "Ei lita bok biter seg fast. Wanny Woldstads fangstmannsberetning". Nordlit, nr 32 (23.07.2014): 71. http://dx.doi.org/10.7557/13.3071.
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<p>A little book bites stuck. A trapper biography of Wanny Woldstad.</p><p>Wanny Woldstad, who still is a well-known polar hero and made more and more famous the last decades through theater plays, songs and writings, wintered over at Svalbard as a trapper and hunter from 1932-37. She left her job as a taxi driver in Tromsø for a tiny little hut and a hunter’s life in Hornsund together with a man she just met. Nearly 20 years after returning to the civilization she wrote a book about her polar experience. Wintering as trappers and hunters seems to have also in a literary project and a lot of trappers have told them polar stories between book covers.</p><p>Woldstad writes mainly about her first wintering. She is able to share that she in this first year was overwhelmed by her new surroundings; she was thrilled by the opportunity to hunt birds, foxes and polar bears. She describes enthusiastically nature and the hunting situations. Even everyday activities as making food, celebrating Christmas and writing diary are topics. In her book she gives credit to her partner as a teacher and mentor in the field of hunting and trapping. But through her writing she brings her own competence and capabilities in focus. Her book gives a profound knowledge of a year in on hunting station on Svalbard. It is written as a true story – an autobiography although retrospective, but has its elements of fiction.</p>
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Frame, Alex. "Fictions in the Thought of Sir John Salmond". Victoria University of Wellington Law Review 30, nr 1 (1.06.1999): 159. http://dx.doi.org/10.26686/vuwlr.v30i1.6021.
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A Lecture delivered for the Stout Centre's "Eminent Victorians" Centennial Series in the Council Chamber, Hunter Building at Victoria University on 31 March 1999. The author pays tribute to the late Sir John Salmond by discussing the role of "fiction" in law and in the thought of Sir John. The author notes the nature of fiction as a formidable force, as it facilitates provisional escape from the tyranny of apparent fact and forget about the suspensory nature of fiction. There are three types of "fictions" in the legal world: legislative fictions, whereby the world is refashioned in accordance with the legislator's desires; constitutional fictions, which places fictional boundaries on government rule; and corporate fiction, which creates a fictional corporate personality for companies. The author concludes that it is purpose that keeps fiction honest, and that the relationship between fiction and purpose is just as important as that between hypothesis and fact.
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Pouliot, Amber. "Serena Partridge’s ‘Accessories’: Fabricating Uncertainty in the Brontë Parsonage Museum". Journal of Victorian Culture 25, nr 2 (kwiecień 2020): 279–99. http://dx.doi.org/10.1093/jvcult/vcz030.
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Abstract The 1861 sale of the Brontës’ personal effects sent relic hunters scrambling to collect the material remains of the famous family. In the second half of the nineteenth century, the collection, preservation, and veneration of relics, particularly those associated with a writer’s private, domestic life, were important aspects of literary celebrity culture and commemoration, and both the Brontë Society and the original Brontë Museum were established to collect material remains. Yet when Virginia Woolf visited the museum in 1904, she viewed Charlotte Brontë’s clothing, shoes, and accessories with considerable unease. Anticipating the concerns of the literary establishment, Woolf feared that access to Brontë’s material remains would encourage the domestic cult which had formed around her following the publication of Elizabeth Gaskell’s The Life of Charlotte Brontë (1857). She feared it would diminish the importance of Brontë’s writing by privileging a narrative of domestic rather than literary labour. This essay considers the creative-critical intervention of Serena Partridge’s ‘Accessories’ (2016), a collection of newly created pseudo-relics of Charlotte Brontë, framed by semi-fictional narratives that dramatize the construction, use, and significance of her personal possessions. I argue that ‘Accessories’ and biographical fiction are analogous modes of engaging with Brontë’s legacy. They respond to the anxieties articulated by Woolf through the fabrication – both literal and literary – of new pseudo-relics that (rather than emphasizing Brontë’s perceived conventional, domestic femininity) enable multiple interpretive possibilities while simultaneously acknowledging the contingent nature of our understanding of her experience.
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Al-Shamali, Farah. "The City of Baghdad in Iraqi Fiction: Novelistic Depictions of a Spatiality of Ruin". Middle East Research Journal of Linguistics and Literature 3, nr 02 (9.12.2023): 12–24. http://dx.doi.org/10.36348/merjll.2023.v03i02.002.
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The Iraqi novel has contended with brutish forms of violence for the better part of the past century that have essentially reshaped the narrative experience unto space. Writers are confronted with the challenge of typifying a search for meaning in and amongst character-altering ruin. At the height of its maturity today, as various works convey spatial woundedness particularly in the city of Baghdad, there is a relationship between fiction and urban reality symbolizing an image of complexity. They play host to a fantastical blending of the real and unreal. They see through to the mediational potencies of absurdist violence, one that is acted out this performativity on the page a matter of survival. The selected works respectively depict the pre-revolutionary capital before moving into the bitter decades to follow. Many build worlds that are mired in the crippling present day engaging the normativity of the spatial wound to make sense of the nonsensical. The novels Hunters in a Narrow Street, The Corpse Washer, Frankenstein in Baghdad and Tashari and short story “The Corpse Exhibition” work towards that end. They critically ponder decrepitude and death as it joins life in the realm of the real, legitimate ruination of place as aesthetic in the liminal imaginary and create the conditions with which to imagine the spatial afterlife of destruction. The extracted articulations and thoughts around each are informed by the critical theoretical lenses of three landmark thinkers of space and place and how the latter equates to the emotionality of man. Keywords: Baghdad, Space and place, Literature, Fiction, Wounded identity, War, Ruination, Dystopia.
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Wijaya, Immanuel. "Treasure Hunt: Ethical Egoism vs Individual Anarchism". K@ta Kita 8, nr 1 (29.03.2020): 116–23. http://dx.doi.org/10.9744/katakita.8.1.116-123.
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This creative project is a novel with an urban-fantasy as the setting and adventure fiction as the plot framework. This novel is depicting a team of a treasure hunters, Michael Harmanto and Lucius Ferdinan. The two of them are trying to find the lost treasures of Kahja, in which they will be asked and tested in their perseverance and ego. In this creative work, I use Egoism as my topic, and I chose on understanding how egoism if applied ethically, can be treated as a good thing as my theme. Through this, I can show the process and the struggle of people clashing and betraying each other in the name of the egoistic desire of reaching their own personal goal. This story, topic, and theme were inspired by how it would be contrasting to the Indonesian philosophy as a nation. The main viewpoints which are ethical egoism and egoistical anarchism will be depicted in the way the two main characters Michael and Lucius’ attitudes, methods, and results. Keywords: ethical egoism, egoistic anarchism, urban-fantasy, adventure
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Leicester, H. Marshall. "Hammer re-reads Dracula: The second time as farce, or, keeping a stiff upper lip in the ruins". Horror Studies 14, nr 1 (1.04.2023): 135–52. http://dx.doi.org/10.1386/host_00066_1.
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This interpretation questions the standard critical assumptions about Hammer Studios’ Dracula that despite its transient improprieties, Dracula offered audiences temporary refuge from the strains of contemporary British life by having absolute good (vampire hunters) triumphing over (absolute evil) vampire. My reading explores the film’s agency through its self-conscious relation to its pre-texts in novel and films, showing how its plot conspicuously alters former cultural expectations and assumptions about the ‘rules’ of vampirism. This deliberate slippage in the stability of prior conventions generates tension between two modes of reading Dracula – as a conventional horror movie about the melodramatic struggle between good and evil – or a depiction of domestic life as a tissue of improvisations that highlight the instabilities and contradictions of desire and gender, family organization, personal and class relations. This article shows how Dracula gradually shifts emphasis from the melodrama to agential improvisation, re-reading the horror movie and its pretensions in order to blur the distinctions between good and evil in both its imagined Victorian fiction and modern life.
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Beer, Linde. "“Colonial Botany”: Conservationists and Orchid Hunters in Popular Afrikaans Fiction Set in the Congo (D.R.C.) and Central Africa from 1949-1962". Journal of Literary Studies 35, nr 4 (2.10.2019): 46–57. http://dx.doi.org/10.1080/02564718.2019.1690821.
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Bokarev, Aleksei S., i Alena V. Korableva. "POETICS OF EKPHRASIS OF PAINTINGS IN LYRIC POETRY BY SERGEY GANDLEVSKIY". Vestnik of Kostroma State University 28, nr 4 (28.02.2023): 54–62. http://dx.doi.org/10.34216/1998-0817-2022-28-4-54-62.
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The article considers the functioning of ekphrasis, which is understood as a kind of self-reflexive text based on interpreting non-verbal works of art, in poetry by Sergey Gandlevskiy. Painting plays a significant part among the media the author refers to: in his poems, frequent are both mentions of artists (Vincent Willem van Gogh, Jean-Baptiste-Camille Corot, Karl Bryullov, Ilya Repin, Vasily Surikov) and references to well-known paintings (Barge Haulers on the Volga, Stag Hunt, The Hunters in the Snow, Saint Agnes, Bedroom in Arles, etc.). The ekphrasis is built as an inter-media palimpsest resulting from “layering” of verbal and visual quotations: reality is represented as a “picture” that existed before the creative act, “on top” of which a poem is being written. It is natural that an increased focus on the “alien’s” (word, images, scenes) actualises the meta-poetic function of ekphrasis – it not just reveals the fact that empirical reality is secondary to art, but also “highlights” the ability of the latter to resist the course of time. As a tool for the hero’s self-identification, ekphrasis brings to the fore the figure of an “alien”, serving as a “reference point”, relying on (or building on) which the protagonist evaluates himself and his experience. Thus, the ekphrasis in Sergey Gandlevskiy’s lyrics represents the meanings related to the problems of reality and fiction, time and eternity, life and death, thereby contributing to the author’s revision of human cognitive abilities.
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Marcussen, Marlene Karlsson. "Det postapokalyptiske moderskab". Passage - Tidsskrift for litteratur og kritik 34, nr 82 (20.12.2019): 99–110. http://dx.doi.org/10.7146/pas.v34i82.118286.
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The article investigates a new type of narrative, where motherhood and catastrophe are interwoven. This inquiry questions how Megan Hunter presents the mother as heroine of a new type of feminist science fiction and how she uses a postapocalyptic frame to depict motherhood in crisis by showing how language falls short of fathoming experiences – both of birth and flood – beyond human understanding. Hunter’s novel succeeds in intertwining the events of motherhood and apocalypse, thus showing how both lend their language and experience to each other.
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Morissan, Morissan. "The History of Human Communication: How Did Humans Build Language and Become World Leaders". Jurnal Komunikasi 15, nr 1 (27.07.2023): 185–95. http://dx.doi.org/10.24912/jk.v15i1.21199.
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The study of human communication history is currently very limited and even if there is, it is still limited to the discussion of the history of mass media such as newspapers, radio, and television, which began to appear at the end of the 19th century. There is no communication study that discusses how humans (Homo sapien) first, tens of thousands of years ago, communicated as humans. How did Sapiens create a language that distinguished him from animals? How did prehistoric humans use language to build group communication so that they became effective hunters and gatherers? This article aims to show how the sciences of history and biology have played a major role in building our understanding of the beginnings of human communication as a foundation for understanding communication itself. Research method used is the qualitative approach where it utilizes a review of the relevant academic publication to provide a comprehensive explanation of the raised questions. To conduct the review, an extensive and integrative search of articles published in major organizational academic research was performed. The integrative approach to systematic literature review used in this article differs from meta-analysis in that it does not utilize econometric and statistical procedures for data synthesis and analysis.The results show, based on previous studies, that Sapiens first communicated as humans when they were able to create abstract objects, which are things that simply don't exist in this world. Sapien is a leader over other animals because of this ability. Effective group communication builds on Sapien's pleasure in gossip. Ultimately, the ability to construct fiction and myth allowed Sapien to build organizations, nations, and even empires.
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Michiels, Laura. "A more perfect dissolution". English Text Construction 15, nr 2 (31.12.2022): 156–74. http://dx.doi.org/10.1075/etc.00055.mic.
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Abstract Samuel D. Hunter’s 2019 play Greater Clements is named after a fictional former mining town in Northern Idaho, which straddles the space between presence and absence. The locals have decided to put an end to a dispute with the Californian second-homers that have flocked to town in recent years, by voting to unincorporate. Hunter has indicated that the play relies heavily on the “toxicity of nostalgia”, on which the present essay concentrates. This article explores nostalgia as connected to two marginalised communities in Greater Clements: the miners, now out of work due to the effects of deindustrialisation, and the town’s Japanese American residents, who are still reeling from the trauma of wartime internment.
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Paul, Abhra. "Nature, Hunter and the Hunted: Eco-consciousness in Samares Mazumdar’s Selected Bengali Crime Fictions". Green Letters 22, nr 1 (2.01.2018): 78–88. http://dx.doi.org/10.1080/14688417.2018.1454844.
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Lipinskaya, A. A. "Ghost hunt: Elliot O’Donnell’s non-fiction". Philology and Culture, nr 3 (4.10.2023): 131–37. http://dx.doi.org/10.26907/2782-4756-2023-73-3-131-137.
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The article deals with the author’s strategies, used by E. O’Donnell in his Twenty Years’ Experience as a Ghost Hunter, and compares this peculiar text with ghost stories – a genre of fiction very popular those days. O’Donnell’s book is a part of a long tradition of occult ‘non-fiction’, but it is positioned as the author’s memoirs, a true story of his own life (his other books are basically collections of ‘real’ ghostly appearances in various regions of England), and begins with his (or his alter ego’s) youth and his first traumatic encounter with a ghost that influenced his career choice, but then this traditional life story turns into a set of cases, not necessarily witnessed by the narrator himself. Some stories are structured exactly like fictional ghost stories but their perception is preconditioned by the ‘rules of reading’ established by the author (the book is supposed to be his memoirs) and by the character of information – what the narrator knows about ghosts from various sources. Thus, the text is very uneven – its aesthetic characteristics are regarded as secondary in comparison with the ‘facts’ retold.
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Richardson, Peter. "Between Journalism and Fiction". Boom 6, nr 4 (2016): 52–61. http://dx.doi.org/10.1525/boom.2016.6.4.52.
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Like Mark Twain, Hunter S. Thompson arrived in San Francisco as an obscure journalist, thrived on the city’s anarchic energies, and departed as a national figure. His literary formation played out in San Francisco during what he called ‘‘a Main Era—the kind of peak that never comes again.’’ That peak helped Thompson invent not only Gonzo journalism, but also himself. This article traces Thompson’s literary formation with special attention to three editors--Carey McWilliams, Warren Hinckle, and Jann Wenner--who helped transform Thompson into what he described as “one of the best writers currently using the English language as both a musical instrument and a political weapon.”
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Boucher, Geoff M. "Death Cults and Dystopian Scenarios: Neo-Nazi Religion and Literature in the USA Today". Religions 12, nr 12 (2.12.2021): 1067. http://dx.doi.org/10.3390/rel12121067.
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In this article, I investigate the literary representation of the religious convictions and political strategy of neo-Nazi ideologues who are influential in rightwing authoritarian movements in the USA today. The reason that I do this is because in contemporary fascism, the novel has replaced the political manifesto, the military manual and proselytizing testimony, since fiction can evade censorship and avoid prosecution. I read William Luther Pierce’s Turner Diaries and Hunter together with his text on speculative metaphysics and religious belief, Cosmotheism. Then, I turn to Harold Covington’s Northwestern Quintet with The Brigade, reading this with Christian Identity and his own conception of Nazi religious tolerance. Finally, I look at OT Gunnarsson’s Hear the Cradle Song, reading this together with discussions of racism in Californian Odinism. I propose that what this literature shows is that the doctrinal differences between the three main strands of neo-Nazi religion—Cosmotheism, Christian Identity and Odinism—are less significant than their common ideological functions. These are twofold: (1) the sacralization of violence and (2) the sanctification of elites. The dystopian fictions of fascist literature present civil war scenarios whose white nationalist and genocidal outcome is the result of what are, strictly speaking, supremacist death cults.
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Semenova, Sofiya N. "Cognitive-Pagmatic Characteristics of Fiction Text on the Material of D.N. Mamin-Sibiryak’s Short Story “Emelya the Hunter”". RUDN Journal of Language Studies, Semiotics and Semantics 13, nr 2 (14.07.2022): 280–93. http://dx.doi.org/10.22363/2313-2299-2022-13-2-280-293.
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The researcher attempts to give the cognitive and pragmatic characteristics of fiction text (based on D.N. Mamin-Sibiryak’s short story “Emelya the Hunter”). The aim of the work was to build the model of the cognitive type on D.N. Mamin-Sibiryak’s short story and analyze speech realizations in the text. The novelty of this article is a detailed cognitive and pragmatic study of the constituent elements, a description of the mental and linguistic structure (cogniotype) and the interpretation of the received results in the studying process of the structural and content side of the text of the short story “Emelya the Hunter”. The material for the study and analysis in this research was not only the theoretical and practical positions of the scientific works of a number of Russian linguists studying the understanding of any text of various genres of fiction works, but also the linguistic material itself: the short story of D.N. Mamin-Sibiryak “Emelya the Hunter” in Russian. To achieve the aim of the research the following tasks were solved: 1) to build the structure of the cognitive type of the short story “Emelya the Hunter”; 2) to find the terms related to various scientific disciplines; 3) to find phraseological units; 4) to systematize adjectives; 5) to give a cognitive and pragmatic description of the studied text. The author of the present article used such methods as: 1) continuous sampling of vocabulary; 2) classification; 3) quantitative calculation; 4) interpretive. D.N. Mamin-Sibiryak’s short story “Emelya the Hunter” was studied from various positions. A model of the cognitive type of D.N. Mamin-Sibiryak’s short story “Emelya the Hunter” was shown in the form of a structure with main topics and their interrelationships. As a result, scientific terms in Geography and Biology were identified and systematized; phraseological units were found and comments were given to them; adjectives were found and classified by types and systematized in the table; the quantitative and percentage ratios of adjectives were calculated and presented in the table and diagrams. The results of the study showed that phraseological units reflected the people’s value priorities in a certain metaphorical form. The relevance of the research was determined by the importance of the chosen topic and its theoretical and practical significance for the cognitive direction in scientific research.
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Kühn, Marion. "Des voix du silence. Variations de la narration indécidable dans le roman de mémoire contemporain1". Tangence, nr 105 (14.05.2015): 31–54. http://dx.doi.org/10.7202/1030445ar.
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Par la mise en scène de la fiabilité problématique de tentatives d’appropriation du passé, le roman de mémoire interroge souvent la subjectivité et la sélectivité de la mémoire. Présentant trois variations de la narration indécidable, l’article vise à démontrer l’apport supplémentaire de cette forme de narration problématique à la réflexion sur la mémoire par la fiction, notamment sur la formation collective de la mémoire individuelle. Pour ce faire, l’article analyse trois romans de mémoire québécois, allemand et français publiés après 2000, et qui exploitent de différentes manières le contraste entre voix narratives individualisées et voix narratives dont l’attribution pose problème. Ce faisant, Hunter s’est laissé couler de Judy Quinn, Spione de Marcel Beyer et Des hommes de Laurent Mauvignier suscitent des questions sur la mise en récit d’une mémoire passée sous silence. Si Hunter s’est laissé couler interroge surtout les enjeux de la mise en fiction d’une vie quasi inconnue, Spione se penche sur le vide mémoriel et identitaire que provoque un passé tu chez ceux qui viennent après. Quant au roman Des hommes, il repose sur la mise en récit paradoxale d’un passé indicible qui occasionne le silence auquel se heurtent les personnages des romans de Quinn et de Beyer.
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Ess, Courtneigh. "’n Feministiese ondersoek na Bettina Wyngaard se misdaadfiksie". Tydskrif vir Letterkunde 61, nr 1 (30.04.2024): 24–34. http://dx.doi.org/10.17159/tl.v61i1.16619.
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The recent discourse on black feminism in Afrikaans literature is strongly influenced by powerful and activist-oriented writers like Ronelda Kamfer, Lynthia Julius, and Veronique Jephtas. With their poetry and public statements, they have shaped the feminist discourse significantly. However, the recent discourse on feminism in Afrikaans largely overlooks the contributions of certain black Afrikaans women writers. Bettina Wyngaard, a black Afrikaans woman novelist, attempts to disrupt this silence and through her literature and opinion pieces, she advances an alternative feminist stance. This article focuses on Wyngaard’s contribution to the recent feminist discourse and the ways in which she asserts her voice within the debate. In this article I refer to three of her crime fiction novels, namely Vuilspel (Foul play) (2013), Slaafs (Slavishly) (2016) and Jagter (Hunter) (2019). I analyse these texts in attempt to examine the feminist ideology underlying her literature. I argue that Wyngaard chooses crime fiction, a genre traditionally dominated by white males, in attempt to sanction her voice within the feminism debate in Afrikaans. In this article, I examine Wyngaard’s crime fiction within the context of third wave of feminism, which engages with popular culture as a tool for critique and to promote feminist ideology. I explore the feminist consciousness and ideology in Wyngaard’s novels and the ways in which she challenges established patriarchal conventions in crime fiction as a genre. I employ Anne Cranny-Francis’ framework in the feminist value of crime fiction to examine the feminist themes in Wyngaard’s work.
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Piper, Kevin. "A Faithful Account: Postsecular History and Agape in the Devout Catholic Fiction of Dena Hunt". Christianity & Literature 69, nr 4 (grudzień 2020): 511–28. http://dx.doi.org/10.1353/chy.2020.0064.
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Abstract: The article examines the contribution of contemporary devout Catholic fiction to postsecular conversations around the mediation of religious experience by secular history with specific attention to a novel not yet discussed within literary studies: Dena Hunt's Treason , a work of historical fiction about Catholic suppression in Elizabethan England. The article argues that (1) Treason analyzes early formations of secular institutions and narratives within Elizabethan England as co-opting Christian expressions of agapeic love, and (2) responds to that co-optation by engaging in a historical method of constructing narratives rooted in instances of self-denying affection and devotion found within religious communities.
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Salvati, Andrew J. "History bites: mashing up history and gothic fiction inAbraham Lincoln: Vampire Hunter". Rethinking History 20, nr 1 (2.01.2016): 97–115. http://dx.doi.org/10.1080/13642529.2016.1134923.
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Trotter, Carol, i Barbara Carey. "Radiology Basics: Overview and Concepts". Neonatal Network 19, nr 2 (marzec 2000): 35–47. http://dx.doi.org/10.1891/0730-0832.19.2.35.
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WHILE I WAS GROWING UP, THERE WAS A PERIOD OF time when I was no longer interested in fictional characters, but in real life heros. Certainly one of the books that influenced me was Microbe Hunters by Paul De Kruif. I was spellbound as these scientific heros discovered the unseen universe of bacteria that was all around us. No less thrilling or useful was the discovery of a new force that allowed us to see within the human body, x-rays.
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Avarvarei, Simona Catrinel. "When West Met East and Bloomed its Cherries". Linguaculture 13, nr 2 (31.12.2022): 63–74. http://dx.doi.org/10.47743/lincu-2022-2-0311.
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This paper builds itself on the story of Collingwood Ingram as elaborated by the journalist and non-fiction writer Naoko Abe in her book The Sakura Obsession - The Incredible Story of the Plant Hunter Who Saved Japan's Cherry Blossoms published in the United States, in March 2019, after it had been first launched in Japan, three years earlier, in the same spring month of 2016. This is the Story, with capital S, as C.S. Lewis would have referred to it, in that that it bestows upon the reader “unexpectedness . . . that delights” (Lewis, On Stories), describing an epiphanic encounter of East and West which restored the fading colours of cherry blossoms on the ‘woodblock prints’ of the realm of the Rising Sun.
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Kotva, Simone, i Eva-Charlotta Mebius. "Rethinking Environmentalism and Apocalypse: Anamorphosis in The Book of Enoch and Climate Fiction". Religions 12, nr 8 (9.08.2021): 620. http://dx.doi.org/10.3390/rel12080620.
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Biblical apocalypse has long been a source of contention in environmental criticism. Typically, ecocritical readings of Biblical apocalypse rely on a definition of the genre focused on eschatological themes related to species annihilation precipitated by the judgement of the world and the end of time. In this article, we offer an alternative engagement with Biblical apocalypse by drawing on Christopher Rowland and Jolyon Pruszinski’s argument that apocalypse is not necessarily concerned with temporality. Our case study is The Book of Enoch. We compare natural history in Enoch to Jean-Luc Marion’s phenomenological analysis of Biblical apocalypse as a way of seeing the world that worries human assumptions about the nature of things and thereby instigates an “anamorphosis” of perception. Following Timothy Morton’s adaptation of Marion’s idea of anamorphosis as an example of the ecological art of attention, we show how apocalypse achieves “anamorphic attention” by encouraging the cultivation of specific modes of perception—principally, openness and receptivity—that are also critical to political theology. In turn, this analysis of anamorphic attention will inform our rethinking of the relationship between environmentalism and apocalyptic themes in climate fiction today, with special reference to Megan Hunter’s The End We Start From.
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Ismail Mousa, Sayed M., i Ghassan Nawaf Jaber Alhomoud. "Exploring the Literary Representation of Trauma in Contemporary Iraqi Fiction from Socio-historical Perspective". World Journal of English Language 12, nr 1 (28.01.2022): 162. http://dx.doi.org/10.5430/wjel.v12n1p162.
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The present study aims to critically review the aspects of war in selected Iraqi war novels— Sinan Antoon, The Baghdad Eucharist (2017), Corpse Washer (2013) Zauhair Jabouri, The Corpse Hunter (2014)—that focus on depicting vividly the traumatic experiences of Iraqi, particularly after the US-led invasion of Iraq 2003 and how these novels could recur constantly to humanist themes and traumatized figures, the psychological suffering of minorities and the oppressed. In other words, it aims to make visible specific historical instances of trauma in Iraqi war fiction. The present study undertakes an in-depth investigation of the socio-political and historical dimensions of Cathy Caruth’s literary trauma simply because trauma experiences in Iraq were emanated from several causes such as social injustice, the oppression of minorities, political despotism, and the persecution of religious minorities, the displacement of Iraqis from the homeland, and the genocidal policies of jihadist. The study has found that Iraqi war fiction depends on the stylistic technique of repeating certain expressions, phrases, and lexical items to intensify the extraordinary events. It is a narrative of traumatic haunting known for its non-linear and circular style that often leads to ambiguity where readers are often unable to decode the authorial intentions, deriving its ambiguity from the traits of dreams and nightmares, the interpretations of which are continually and unredeemably haunted by the memory of loss.
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Jajszczok, Justyna. "The Last Day and Brexit: Delusions of Future Past". Porównania 30, nr 3 (27.12.2021): 167–77. http://dx.doi.org/10.14746/por.2021.3.11.
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The paper aims to show how the traditions of science fiction and, above all, invasion literature provide the ideological background for reading Andrew Hunter Murray’s The Last Day as a novel about Brexit. As it draws on anxious visions of the future, in which the enemy lurks around every corner, and the only salvation is complete isolation from the world, Murray’s work is read here as a Brexit dream come true, in which Britain is once again great, independent and uncontaminated by foreign elements. By evoking the myths that focus only on glory and conveniently “forget” the dark sides of the empire, the novel demonstrates that the fantasies of the past are as distant as the fantasies of the future; the loss of the world that never was is reworked in The Last Day into the loss of ecologically viable planet.
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Rosenthal, Debra J. "Climate-Change Fiction and Poverty Studies: Kingsolver’s Flight Behavior, Diaz’s “Monstro,” and Bacigalupi’s “The Tamarisk Hunter”". ISLE: Interdisciplinary Studies in Literature and Environment 27, nr 2 (22.11.2019): 268–86. http://dx.doi.org/10.1093/isle/isz105.
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Jacobs, Andrew S. ""This Piece of Parchment Will Shake the World": The Mystery of Mar Saba and the Evangelical Prototype of a Secular Fiction Genre". Christianity & Literature 69, nr 1 (marzec 2020): 91–106. http://dx.doi.org/10.1353/chy.2020.0005.
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Abstract: The 1940 evangelical novel The Mystery of Mar Saba by James H. Hunter shares with a later, secular genre of novels I call gospel thrillers a common plot (the discovery of a new gospel from the first century and a race to prove or disprove its authenticity) but also common anxieties about biblical authority mapped onto geopolitical, theological, and personal registers. I triangulate these themes with the modern professional study of the Bible, which has also produced a vulnerable yet authoritative biblical text and which has, in surprising fashion, resurrected for its own purposes The Mystery of Mar Saba .
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Mrázek, Jan. "Primeval Forest, Homeland, Catastrophe." Anthropos 116, nr 1 (2021): 29–54. http://dx.doi.org/10.5771/0257-9774-2021-1-29.
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The SVD ethnologist/ethnographer mostly known as Paul Schebesta (1887-1967) was often introduced in Czechoslovakia as “our Czech” Pavel Šebesta. Querying origins, selves and homelands, his own and in his writings (ethnography/travelogues/fiction on “dwarfs” in the “primeval forest”), this essay traces the multiplicity/borderlands/nomadism of Schebesta/Šebesta, also in his relation to the “Other,” a concept/distinction/border that is thus destabilized or blurred. Interweaving apparently separate questions about his life and scholarship, the essay finds continuities and mirroring across distance and otherness. Following-mirroring Šebesta/Schebesta, we recognize the familiar in the strange, Silesia/Moravia in Malaya, the contemporary in the primeval, the “native” in the ethnologist, the head-hunter in the biological anthropologist. The essay’s motley style mirrors what has been described as his “jumbled” writing, “highly coloured … scarcely in consonance with the scientific material”; it reflects his nomadism, emphasis on “experiencing together,” and the conflict that he sensed between “theories” and “life, rhythm, poetry.”
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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 (28.11.2017): 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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Huber, Karoline, i Geoff Rodoreda. "Narrating Loss in James Bradley’s "Clade" (2015); or, Introducing Arrested Narrative in Climate Fiction". Ecozon@: European Journal of Literature, Culture and Environment 15, nr 1 (26.04.2024): 143–57. http://dx.doi.org/10.37536/ecozona.2024.15.1.5072.
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In James Bradley’s futuristic novel of climate crises, Clade (2015), characters constructed to evoke empathy and readerly attachment, characters we expect to be further developed narratologically, are prone to sudden, unexpected and unexplained disappearances. The development of cared-for characters is thus ‘arrested’ at the level of narration. For readers, this is disarming and disconcerting. However, we find purpose in such acts of narratorial breakage in cli-fi like Clade. In contemporary stories of climate crises, which project environmental destruction, the loss of habitats and species, and severe disruption to human and nonhuman lives, the arrestation of a character’s development parallels a sense of environmental loss evoked at the level of storied content. Put another way, the sudden disappearance of character-story at the level of form imitates the sudden erasure of species, ecosystems and lived experience in the storyworld of Clade. We call such narratological innovation arrested narrative. In this essay we define and describe the appearance and function of arrested narrative in Clade, in some depth, as well as its emergence in two other novels of climate crises, Megan Hunter’s The End We Start From (2017) and Diane Cook’s The New Wilderness (2020). While investigations into narrative form in stories of the Anthropocene are not new, ecocritical literary scholarship remains largely focussed on story-level content. This examination of the way arrests in narrative discourse parallel environmental ruptures at the level of content, in selected cli-fi, is aimed at contributing to the emerging field of “econarratology” (James), concerned with the study of the workings of both form and content in ecocritical narratives.
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Bosman, Frank G. "God Was Never there God and the Shoah in the Netflix Series Jaguar". Perichoresis 21, nr 3 (1.07.2023): 4–20. http://dx.doi.org/10.2478/perc-2023-0019.
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Abstract On September 22, 2021, the Spanish series Jaguar was released on Netflix. Its six episodes of season one (a second season is yet to be confirmed) focus on a fictional band of Nazi-hunters in Spain, somewhere in the 1960s, calling themselves “Jaguars” (hence the series’ title). All but one Jaguar member are survivors of several German concentration camps, and dedicate their lives to bring Nazi war criminals, who are spending their days in luxury under the protection of the Franco regime in Spain, to justice. One of the Jaguars is Marsé (Francesc Garrido), a bearded man in his forties, and the team’s dedicated driver. Step by step, the viewer of Jaguar learns his background story: ordained a Roman Catholic priest, he renounced his faith after having witnessed and experienced the horrors of the Nazi regime in Dachau concentration camp. Marsé still struggles with his former faith and occasionally shares his theological insights with his teammates, especially with the series’ protagonist Isabel Garrido.
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Jenkins, Elwyn. "ROY CAMPBELL’S CHILDREN’S NOVEL, THE MAMBA’S PRECIPICE". Mousaion: South African Journal of Information Studies 34, nr 2 (26.10.2016): 83–97. http://dx.doi.org/10.25159/0027-2639/895.
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Roy Campbell’s The mamba’s precipice (1953), a novel for children, is his only prose work of fiction. This article examines three aspects of the book, namely its autobigraphical elements; its echoes of Campbell’s friendship with the writers Laurie Lee and Laurens van der Post; and its parallels with other English children’s literature. Campbell based the story on the holidays his family spent on the then Natal South Coast, and he writes evocative descriptions of the sea and the bush. The accounts of feats achieved by the boy protagonist recall Campbell’s self-mythologising memoirs. There are similarities and differences between The mamba’s precipice and the way Van der Post wrote about Natal in The hunter and the whale (1967). Campbell’s novel in some respects resembles nineteenth-century children’s adventure stories set in South Africa, and it also has elements of the humour typical of school stories of the ‘Billy Bunter’ era and the cosy, mundane activities and dialogue common to other mid-century South African and English children’s books.
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Baučeková, Silvia. "The Flavour of Murder: Food and Crime in the Novels of Agatha Christie". Prague Journal of English Studies 3, nr 1 (1.09.2014): 35–46. http://dx.doi.org/10.2478/pjes-2014-0016.
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Abstract Food and murder have had a paradoxical relationship ever since the first prehistoric hunter-gatherers put the first morsels of meat into their mouths. On one hand, eating means life: food is absolutely necessary to sustain life. On the other hand, eating means killing. Whether it is the obvious killing of an animal for meat, or the less obvious termination of a plant’s life, one must destroy life in order to eat. It is assumed that this inherent tension between eating/living and eating/dying often informs and shapes crime narratives, not only in the recently invented genre of culinary mystery, produced most famously by Diane Mott Davidson and Joanne Fluke, but also, even if to a lesser extent, in classic detective novels of the 20th century. This article focuses on how the contradictory nature of eating is manifested in the work of Agatha Christie. By combining a traditional structuralist approach to crime fiction as a formula, as advocated by John G. Cawelti, with the methods of the emerging field of food studies, the paper aims to observe a classic, i.e., the classic detective story, from a new perspective
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Steele, Alexander. "Estrangement and the Consequences of Metaphorical Deafness". Journal of Literary & Cultural Disability Studies: Volume 15, Issue 1 15, nr 1 (1.02.2021): 57–73. http://dx.doi.org/10.3828/jlcds.2021.4.
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The article traces a Deaf-oriented rhetoric within The Heart Is a Lonely Hunter, examining the consequences of reading and understanding deafness metaphorically, both on and beyond the fictive page. The Heart performs an uncomfortably close sketch of these consequences, culminating in protagonist John Singer’s suicide. The article situates deafness within a context of eugenics and oralism, and details Singer’s estrangement from community and eventually himself as a consequence of that community’s unwillingness to connect meaningfully with its only deaf citizen. The article also details how The Heart deserves to be critically reexamined by literary disability studies because it moves into the critical realms of discomfort and unease, raising questions about who may and may not engage with disability studies.
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Caracciolo, Marco. "Metaphorical Figures for Moral Complexity". New Literary History 55, nr 1 (styczeń 2024): 125–43. http://dx.doi.org/10.1353/nlh.2024.a932373.
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Abstract: If literary narrative as a practice is well suited to capture morally complex situations, that is in large part due to the work of literary (that is, narrative and stylistic) form . This article examines the specific contribution that metaphorical language makes to the literary negotiation of moral complexity. The discussion is positioned vis-à-vis debates on the specific forms of moral knowledge that literature can provide, which I distinguish from both propositional meanings and the dilemmas entertained by analytic philosophers (for instance, the trolley problem). Instead, I draw on metaphor theory to suggest that metaphorical language can enrich the moral resonance of literature by deepening (and complicating) readers' engagement with fictional characters and the situations in which they are embedded. These metaphorical figures probe the experience captured by Cora Diamond under the rubric of the "difficulty of reality." This idea is illustrated through a close reading of Lauren Groff's short story "Flower Hunters," which skillfully orchestrates metaphorical language so as to encapsulate the protagonist's existential and moral impasse in times of ecological crisis.
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Brosius, J. Peter. "Father Dead, Mother Dead: Bereavement and Fictive Death in Penan Geng Society". OMEGA - Journal of Death and Dying 32, nr 3 (maj 1996): 197–226. http://dx.doi.org/10.2190/wh9x-cck2-btl7-bq8g.
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A characteristic of the mortuary complexes of central Bornean societies is the existence of systems of “death-names.” Death-names are actually titles, given to persons on the death of a relative. This article examines the system employed by Penan Geng hunter-gatherers. What is significant about the Penan complex is that death-names are employed in a wider range of contexts than that of bereavement: they are used 1) to express affection, 2) to verify statements, and 3) as curses. Each of these usages derives from the assumption that reference to the death of a living individual may bring it about. Much recent scholarship on death has been predicated on the assumption that humans deny death. The Penan case would seem to counter this. Penan have incorporated the theme of death into all forms of social discourse. Rather than denying death, this discursive complex uses reference to the death of self or others to social ends.
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BRAUNER, DAVID. "Lorrie Moore Collection“A Little Ethnic Kink Is Always Good to See”: Jewish Performance Anxiety and Anti-passing in the Fiction of Lorrie Moore". Journal of American Studies 46, nr 3 (sierpień 2012): 581–602. http://dx.doi.org/10.1017/s0021875811001940.
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This essay explores the ways in which the performance of Jewish identity (in the sense both of representing Jewish characters and of writing about those characters’ conscious and unconscious renditions of their Jewishness) is a particular concern (in both senses of the word) for Lorrie Moore. Tracing Moore's representations of Jewishness over the course of her career, from the early story “The Jewish Hunter” through to her most recent novel, A Gate at the Stairs, I argue that it is characterized by (borrowing a phrase from Moore herself) “performance anxiety,” an anxiety that manifests itself in awkward comedy and that can be read both in biographical terms and as an oblique commentary on, or reworking of, the passing narrative, which I call “anti-passing.” Just as passing narratives complicate conventional ethno-racial definitions so Moore's anti-passing narratives, by representing Jews who represent themselves as other to themselves, as well as to WASP America, destabilize the category of Jewishness and, by implication, deconstruct the very notion of ethnic categorization.
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Callan, William. "New Law of the Land". Digital Literature Review 10, nr 1 (18.04.2023): 86–94. http://dx.doi.org/10.33043/dlr.10.1.86-94.
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Monsters are tied to what we consider normal or abnormal in our cultures. Jeffrey Cohen’s “monster theory” states that society places its own anxiety or fear of something or someone who breaks cultural expectations into the monsters they create. The fear we have of these monsters makes them incredibly popular in our cultures. In Cormac McCarthy’s No Country For Old Men, the main antagonist and cold-blooded killer Chigurh fits the mold of the monster theory perfectly in many ways. In the novel, after stealing millions of dollars from a drug deal gone awry, Moss is hunted down by Chigurh ruthlessly. He represents both the fear and desire of our societal norms by rejecting all humanity via his brutality; however, he maintains a playfulness when it comes to deciding his victims’ fates, utilizing coin-flipping to determine whether the victims live or die. By looking at Chigurh through the lens of “monster theory,” we see that he fits the mold of the traditional villain in crime fiction stories, while also managing to surprise readers by just how nefarious he really is. Of course, it would be unwise to assume that Chigurh is without humanity; he is often given shockingly human characteristics to ground him in reality, which makes him and the state of lawlessness he brings about all the more terrifying. What we gain by applying monster theory is seeing how a society’s fear of violent crime is personified; it also lets us attempt to reassure ourselves of our own humanity in comparison to the absolute inhumanity of Chigurh. Through Chigurh, McCarthy has created one of the most memorable and remarkable monsters in crime fiction.
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Lillie, M. C., i C. E. Budd. "DIET ISOTOPE ANALYSIS AND RELATED STUDIES IN PREHISTORIC UKRAINE: FACT, FICTION AND FANTASY". Archaeology and Early History of Ukraine 37, nr 4 (23.12.2020): 251–67. http://dx.doi.org/10.37445/adiu.2020.04.20.
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The authors consider scientific studies of Ukrainian skeletal material across the Epipalaeolithic to Eneolithic periods and offer some observations in relation to the efficacy of studies undertaken by different researchers. Firstly, the authors summarize the results of their own research since the original research undertaken by Lillie in the early 1990s, and present period based overviews (fig. 1—3) which discuss the nature of the evidence, the fact that fish remains important across the periods studied. The data also highlights the fact that by the Eneolithic period different culture groups are following distinct subsistence strategies. This is obviously marked by western dietary pathways linked to the integration of agro-pastoralism (and associated to presumed Trypillia farming groups at Verteba Cave), and those of the eastern hunter-fisher-foragers in the Dnieper region at Igren VIII and Molukhov Bugor.
Interestingly the chronological separation between these two sites is also linked to dietary variability. At the earlier site of Igren VIII there is diet isotope evidence for a relatively heavy reliance on freshwater resources as ca. 4300—4000 cal BC, whilst at the latter site of Molukhov Bugor, at 3950—3700 cal BC, a reduction in the reliance on freshwater resources is in evidence. This is accompanied by evidence for a broader spectrum approach to the exploitation of the wild resources in and around the Dnieper Rapids region. Radiocarbon dating is shown to be affected by the FRE at the sites in and around the Dnieper system. This is clearly not the case at Verteba Cave because the freshwater reservoir effect is not associated with dietary pathways that place a reliance on terrestrial resources.
The authors discuss the dating (fig. 4—6) and mobility and dietary isotope studies that they undertook at this location and contextualize these by comparison to the work of other researchers. It is suggested that some issues occur in relation to the different research groups activities at Verteba Cave, and the fact that there is a clear need for a more considered approach to the data presented by these other groups is highlighted. It could be argued that a lack of detailed knowledge and collaboration occurs despite the fact that there are clear overlaps between research agendas. The authors conclude with a call for targeted multi-disciplinary analyses aimed at whole cemetery studies in order to further enhance our understanding of socio-economic and societal developments during the early to mid-Holocene in Ukraine.
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Gnamamani, G. S. Vimal, i C. Jothi. "Crisis and Self-Realization in Jack Hunt’s Novel Phobia and Anxiety". World Journal of English Language 13, nr 6 (30.06.2023): 507. http://dx.doi.org/10.5430/wjel.v13n6p507.
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This paper contends that the investigation of psychoanalysis of characters during the pandemic significant piece of artistic examination. The world has seen various plagues and pandemics at various times. The pandemics have presumably made a tremendous effect on the social, social, and monetary fields, getting a change in human existence. Journalists and writers from different countries and societies have answered the pandemics, planning the times that they have seen and remarking on their unsafe encounters. Numerous fundamental books are composed on the difficult stretches of sicknesses and pandemics in which in some cases even fifty percent of a country or a city is crushed. The current world is gigantically impacted by COVID-19, which is a lethal infection supposedly spreading from China. The infection is killing a large number of individuals consistently, contaminating millions and seriously endangering the entire world. The essayists and artists of the contemporary world are likewise composing superb fiction and verse, answering the emergency and looking for approaches to mending and making due. Drawing on the extraordinary works created by the effects of the pandemic in various seasons of history, the paper investigates how people make due in the midst of such pandemics, look for ways of mending themselves, and study writing during the pandemic. The main purpose of this paper is to momentarily explain and remark on how the characters experienced the situation of the pandemic called Agora Virus in Jack Hunt’s novel Phobia and Anxiety and how they struggled to survive during the worse situation and how they realised themselves during the crisis. By the end, every one realised who they are and what they mean to society.
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Gregoriou, Christiana. "‘Times like these, I wish there was a real Dexter’: Unpacking serial murder ideologies and metaphors from TV’s Dexter internet forum". Language and Literature: International Journal of Stylistics 21, nr 3 (24.07.2012): 274–85. http://dx.doi.org/10.1177/0963947012444223.
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The Dexter TV show, much like the literary series it is closely adapted from, features detective hero Dexter Morgan who, though a blood-spatter analyst and killer hunter, is also a serial killer himself. Unlike other killers featured in fiction though, his murderous actions are specifically code-driven; he only pursues dangerous criminals who escape the law. It is because the show encourages readers to empathise with this somewhat unusual detective that the show attracted not only academic attention from television analysts, philosophers, psychologists, linguists and cultural studies specialists, but significant opposition from such groups as the US Parents Television Council as well. Regardless of whose ideologies it is that the show implies exactly, this article turns to direct viewer-derived data instead, in the form of selected internet forum messages over the first 5 episodes of the fifth series of the show (screened in the USA in the autumn of 2010). The critical linguistic analysis of this data uncovers the ways in which real viewers actually respond to serial killer-related ideologies with respect, for instance, to attitudes toward extreme crime and victim typology in US society. Through a discussion of specific message board strings from Showtime’s online Dexter forum, the article not only accounts for evidence with respect to the show’s implied ideologies, but more particularly investigates viewer reactions to them also.
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Madigan, Andrew J. "What Fame Is: Bukowski's Exploration of Self". Journal of American Studies 30, nr 3 (grudzień 1996): 447–61. http://dx.doi.org/10.1017/s0021875800024907.
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Although this quote reads like a description of Hollywood and its celluloid environs, the author is reviewing Run With the Hunted: A. Charles Bukowski Reader, a comprehensive anthology of the poet-novelist's work. From Flower, Fist and Bestial Wail (1960), his first full-length collection of poetry, to Pulp, published shortly after his death in 1994, Bukowski chronicled the humorous, lyric, impoverished lives of prostitutes, drinkers, bums, writers, and miscreants of every description. His tales of squalor which document the starving and passionate Angeleno writer are in large measure inspired by John Fante.Los Angeles is Buk territory. He lived in and wrote about Central Los Angeles for most of his seventy-three years. L.A. is a place where, in the realm beyond fiction, people migrate in pursuit of dreams. One category of migrant dream-seeker is the writer. Whether he/she is a neophyte seeking fortune as a screenwriter or an aging, established author reviving an endangered career, the writer confronts an industry whose interests and intents are tangential to his/her own.
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Asquith, Mark. "Refocusing Western Revisionism: McCarthy’s Debt to Butcher’s Crossing". Cormac McCarthy Journal 21, nr 2 (wrzesień 2023): 145–65. http://dx.doi.org/10.5325/cormmccaj.21.2.0145.
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ABSTRACT Many critics make a link between John Williams’s Butcher’s Crossing and Blood Meridian, claiming a shared bloodiness and broad existential concerns. This article uncovers more direct links. Williams intended Butcher’s Crossing (1960) as a bleakly existential riposte to Emerson’s encouragement to “go west” in search of God in the form of a “transparent eyeball.” The novel asks what happens when the universalizing eye gazes upon the brutal rather than the godly. The same corrupted vision lies at the heart of Cormac McCarthy’s Blood Meridian, a novel that, as Neil Campbell notes, “peer[s] into the abyss of Western American History and bears fictional witness to its terrifying and spectacular events.” In the narrative worlds of both works the role of witness is debased; there is no moral focus and no heroic central character to be deconstructed, just a passive teenager whose gaze “sees all” without feeling, the authors deliberately withholding censure. There is at their center a group of hunters led by a demonic “Ahab-like leader” whose blinkered and bloody pursuit of the elusive prey (whether skins or scalps) is transformed into an exploration of the soul. Though visual metaphors dominate, the characters remain blind, leading to a discussion as to whether they evolve morally at all.
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Baginski, Ana. "“Re-expression” as Expression: Race and the Environment in the Work of Mary Hunter Austin". Yearbook of Comparative Literature 64 (1.07.2022): 21–54. http://dx.doi.org/10.3138/ycl-64-020.
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If Anthropocene discourse considers environmental breakdown as a post-racial horizon in light of which the human might be reconceptualized as geological agent, this article turns to early twentieth-century environmental writer Mary Austin to identify a similar positioning of particular environmental conditions beyond the scope of human habitability as a horizon in relation to which she could imagine Indigenous and settler territorial boundaries to “fail together.” The idea of un-inhabitability serves a regulative function when it comes to conceiving of difference—racial, cultural, gendered —thought to be both bridgeable and unbridgeable. Austin’s poetic “re-expression” of what she termed “Amerindian songs” into written poetry has been read as attempting, appropriatively, to bridge such a divide. This article reads Austin’s “re-expressions” in the context of her autobiography and fictional narrative work to argue that the writer did not believe in the aesthetic promise that she is often criticized for espousing. Austin’s understanding of the gendered, racializing, and individualizing aspects of disclosure makes her poetic “re-expressions” of Indigenous oral forms as written poems examples of a self-conscious failure of both literary and anthropological modes of cultural representation. Her work is full of this tension. On the one hand, there is an appeal to the aesthetic in a philosophical register, an abyss that also impossibly bridges what is known and what is understood; on the other hand, a realization of literary production’s desire for a kind of anthropological presentation of what it is not. In this sense, Austin’s early twentieth-century environmental writing can help us to recognize the stakes of twenty-first-century environmentalisms that are full of, but rarely conscious of, similar tensions.
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Varney, Andrew. "Stevenson, J. A., The British Novel: Defoe to Austen. A Critical History; Hunter, J. P., Before Novels: The Cultural Contexts of Eighteenth-Century English Fiction". Notes and Queries 39, nr 2 (1.06.1992): 228–30. http://dx.doi.org/10.1093/nq/39.2.228.
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Fernández-Armesto, Felipe. "Dr. Dolittle, I Presume". Journeys 20, nr 2 (1.12.2019): 99–112. http://dx.doi.org/10.3167/jys.2019.200206.
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Richard Lynch Garner’s is a curious case in the history of the fragility of fame. Born in 1848, the explorer, zoologist, specimen hunter, and pioneer in linguistics, animal ethics, and primatology inspired at least one fictional character: the mysterious, offstage Dr. Johausen, the ape fancier who disappears from his jungle hide in Jules Verne’s missing-link fantasy Le Village aérien (Radick 2007: 124). If, as I presume for reasons that will become clear, Garner may also have contributed to the making of Hugh Lofting’s imperishable hero, Dr. Dolittle, it is perhaps surprising that no literary researcher, as far as I know, has ever undertaken to study him. For a brief spell in the early 1890s, around the time of a then-renowned (and soon to be notorious) expedition that he undertook to Fernan Vaz in French Gabon, Garner was one of the most celebrated men in the world—such that satirists had only to allude to him in the certainty that readers would know whom they meant (Radick 2007: 84–85, 123, 136–137). Yet he died in poverty in 1920 (at about the time of the publication of the first Dolittle book).
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Mohit Ul Alam, Mohit Ul Alam. "Tagore and Shakespeare:". Crossings: A Journal of English Studies 3, nr 1 (1.12.2011): 77–98. http://dx.doi.org/10.59817/cjes.v3i1.344.
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In this study I want to show that the greatest Bengali writer and the greatest English writer had one concern in common as fathers—how to marry their daughters to suitable bridegrooms. This anxiety of the daughters’ fathers is counterpoised by the greed for dowry among the young men seeking a rich father-in-law. While my article will develop along this contrapuntal opposition–father’s anxiety versus dowry-hunter’s greed, I’ll also shed light on the biographical elements of both these writers as the depiction in their works of young women being married to wrong hands is so persistently identifiable with their own position as fathers in real life. I have tried to base my article first on a biographical premise, and then I have gone to focus on their treatment of the fictional daughters in their works, thus to prove a fact that writers do write about themes which keep them preoccupied in their lives.
But my paper by no means intends to present an exhaustive study on the topic, citing cases and examples from these two writers’ whole gamut of writings, rather my references will remain confined only to the pieces that I have lead of these two authors, and again only the most prominent ones will be referred to.
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Dunn, James A. "Charlotte Dacre and the Feminization of Violence". Nineteenth-Century Literature 53, nr 3 (1.12.1998): 307–27. http://dx.doi.org/10.2307/2903042.
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Charlotte Dacre's relatively neglected fictions create a unique space in the dialectic of violence that characterizes so much of British Romanticism. Her simultaneous attraction to and repulsion from violence is reflective of an era that apotheosized the sublime, which formed its imagination on the bloody Revolution in France and the increasingly visible brutalities of industrialism, and that made the Gothic its most popular literary commodity. But Dacre's peculiar contribution to this hermeneutic is to build through her four major novels a mythology by which violence emerges, most of all, from feminine libidinous drives. This essay, therefore, begins by contrasting Dacre's approach to feminine sexual desire with that of two other notable women writers of the period, Letitia Elizabeth Landon and Mary Tighe. The essay continues to explore Dacre's most purely Gothic expression, Zofloya (1806), particularly through the scene in which Victoria stalks, attacks, and murders a girl whom she perceives to be her sexual rival. And it concludes with an analysis of a lesser-known novel, The Passions (1811), and its vibrant anti-heroine, Appollonia Zulmer. Troped as noble hunter, ferocious goddess, social critic, and scorned woman, Appollonia is Dacre's most complex vision of the meaning of feminine violence. Still, Dacre's ultimate inclination is toward tragic irony: though she vigorously rewrites the conventional Gothic script (where women are the victims of demonic men), she does not envision anything like the comic release dreamed of, more than a century later, in Hélène Cixous's "The Laugh of the Medusa."
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Brillowski, Wojciech. ""Treasures from the Wreck of the Unbelievable" - archeologia jako element strategii artystycznej Damiena Hirsta". Artium Quaestiones 31, nr 1 (20.12.2020): 123–70. http://dx.doi.org/10.14746/aq.2020.31.5.
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The most important element of Damien Hirst's multimedia project "Treasures from the Wreck of Unbelivable" was the exhibition, presented from April 9 to December 3, 2017 in Venice, in the galleries of the Pinault Foundation in Punta della Dogana and Palazzo Grassi. It was completed by several book publications and a 90-minute film of the same title, made available globally on the Netflix online platform on January 1, 2018. The exhibition included over a hundred objects, mainly sculptures, made in various techniques and materials in a wide range of sizes. The film, stylized as a popular science documentary, presents the fictional story of their discovery and exploration at the bottom of the Indian Ocean, and their transport to Venice. It develops the main idea of the exhibition – a fictitious vision of the origin of these objects from an ancient wreck, filled with artistic collections, belonging to a fabulously rich ancient Roman freedman, with the significant name Cif Amotan II (anagram from “I am a fiction”). Realizing this fancy artistic vision, most of the works were made as if they had been damaged by the sea waves and overgrown with corals and other marine organisms. Hirst created a comprehensive and all-encompassing narrative using the principle of "voluntary suspension of unbelief," formulated by Samuel T. Coleridge. The artist sets himself and the viewer on a fantastic journey into the ancient past, taking up subjects central to his ouevre for decades: faith, relations of art and science, transience and death. He does this by means of numerous references to the artistic and mythological heritage of antiquity, not only Graeco-Roman, but also of other great cultures and civilizations.
Although the formal and technical aspects of the project will also be discussed, the main goal of the author is to analyze how Hirst used the knowledge of antiquity (classics) to create both the exhibition itself and the mockumentary. The artist made archeology an element binding his narrative together, showing in the film not only how artefacts were obtained from the bottom of the ocean. He also presented a number of tasks that scientists deal with at various stages of the project – from the first discovery, through interpretation and conservation, to the presenting at the museum-like exhibition. Of course, his purpose was not to create a study in the methodology of underwater exploration, but to reflect on the cognitive power of science examining remains of ancient times. By juxtaposing two possible attitudes towards relics of the past, i.e. the strict discipline of the scholar and the imagination of the treasure hunter, he concludes that narratives arising from them will both have the character of a mythical tale. The ontic status of the artefacts themselves, as the things of the past, left in a fragmentary state by the passage of time, sets all the stories related to them within the discourse of faith.