Gotowe bibliografie tematyczne / Masquerades, fiction

Gotowa bibliografia na temat „Masquerades, fiction”

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Data publikacji: 25 lipca 2024

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Artykuły w czasopismach na temat "Masquerades, fiction"

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Li, Xiaofan Amy. "Risky Masquerades: The Play of Masks in Yukio Mishima’s Confessions and Qiu Miaojin’s Crocodile". Comparative Literature Studies 60, nr 4 (listopad 2023): 719–45. http://dx.doi.org/10.5325/complitstudies.60.4.0719.

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ABSTRACT This article explores queer masquerade and risk by comparing Mishima’s Confessions of a Mask with Qiu’s Notes of a Crocodile. Although masquerade is typically discussed in terms of performativity, insufficient attention is paid to masquerade as a play-form, particularly in scholarship on East Asian literatures. This offers a new perspective on Confessions and Notes, which are persistently read as autobiographical representation. Focusing on the trope of the mask in Confessions and Notes, this article shows that masquerade oscillates between different masks rather than between being and appearance. It reveals risks to identity and the body, and experiences and interpretive modes that are obscured by identitarian and epistemic categories. Instead of a gay novel, Confessions vehemently opposes fixing identity in any way. Similarly, Notes does not reflect Qiu’s own life and sexuality so much as a queer postcolonial rewriting of Confessions. While both novels demonstrate that masquerade is coercive play when it is a “straightening device,” they also suggest the notion of “ludic risk,” showing that masquerade offers the possibility to play with different identities and disrupt established patterns of behavior and recognition. Mishima’s and Qiu’s fiction helps us understand masquerade as risky play and a queer method.
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Chinaka, Psalms. "Liberation as an Instrument of Self-Aggrandizement: The Nigerian “Revolutionary Masquerades” in Achebe’s There was a Country and Selected Nigerian Works of Fiction". Journal of the African Literature Association 7, nr 2 (styczeń 2013): 132–46. http://dx.doi.org/10.1080/21674736.2013.11690211.

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S. Omoera, Osakue, i Ruth Etuwe Epochi-Olise. "MEDIATIZATION OF NDOKWA MASQUERADE PERFORMANCES: THE AESTHETIC DYNAMICS OF AN AFRICAN INDIGENOUS CARNIVAL". Journal of Cultural and Creative Industries 3, nr 1 (22.12.2022): 1–22. http://dx.doi.org/10.21134/jcci.v3i1.1763.

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This article examines the mediatization of the aesthetic dynamics or dimensions in the masquerade performances of the Ndokwa people in Delta State, Nigeria. Masquerade performances and carnivals are spectacular indigenous theatrical activities or forms that involve the impersonation of fictive characters by costumed performers in Nigeria and across Africa. These art forms share similar elements that make them culturally significant in terms of creativity and social commentary. The Ndokwa masquerade performances during festive celebrations have been on for over two decades but have virtually not been given the deserved publicity to project them as fine tourist events. Deploying Etop Akwang’s “Medialization” model, this study uses historical-analytic, key informant interview (KII) and direct observation to consider the uniqueness of the Ndokwa masquerade performance. It holds that the masquerade performance is a valuable cultural product that combines the characteristics of carnivals and celebrations of fluid cultural exchange that appear to have led to hybridized cultural performances amongst the people. It highlights some of the aesthetic dimensions of the Ndokwa masquerades and how they could be made more culturally viable and economically appealing through the use of new media outlets. This article, therefore, advocates for the use of social media as a trendy form of mediatization or media production to give visibility to Ndokwa masquerade performances in the global cultural space.
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Bohata, Kirsti. "MISTRESS AND MAID: HOMOEROTICISM, CROSS-CLASS DESIRE, AND DISGUISE IN NINETEENTH-CENTURY FICTION". Victorian Literature and Culture 45, nr 2 (5.05.2017): 341–59. http://dx.doi.org/10.1017/s1060150316000644.

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The relationship between mistress and maid is curiously intimate yet bounded by class. Employers and their servants are caught in a dynamic of dominance and submission, in which they practice mutual surveillance. Yet the relationship may also evoke models of loyalty, devotion, and the possibility, in fiction at least, of female alliance. On the comparatively rare occasions that servants feature at all in Victorian fiction, these dynamics lend a homoerotic dimension to the cross-class relationship between mistress and maid. The positions of mistress and maid bring two women together under the same roof while separating them by class, thus providing a framework for a fictional exploration for yearning, desire, unrequited love, or sometimes union. Alternatively, a queer relationship may be obscured by the guise of employer and servant. Indeed, the mistress-maid stories discussed here often involve masquerade in some form, including cross-class and cross-gender disguises.
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Belsey, Catherine. "Popular Fiction and the Feminine Masquerade". European Journal of English Studies 2, nr 3 (grudzień 1998): 343–58. http://dx.doi.org/10.1080/13825579808574422.

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Marling, William. "Masquerade, Crime, and Fiction: Criminal Deceptions (review)". MFS Modern Fiction Studies 55, nr 2 (2009): 404–7. http://dx.doi.org/10.1353/mfs.0.1605.

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Alexander, Josephine Olufunmilayo. "Exploring Nnedi Okorafor's decolonial turn in the Binti Trilogy". Image & Text, nr 37 (1.11.2023): 1–28. http://dx.doi.org/10.17159/2617-3255/2023/n37a29.

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Nnedi Okorafor is one of the best-known speculative fiction writers who has centred African perspectives and delinked from Western models. In her trilogy, Binti (2015), Binti Home (2017) and Binti the Night Masquerade (2017a), Okorafor disrupts the dominant white-masculine supremacist convention and traditions for a more diverse and inclusive narrative. In this article, I use decolonial thinking and the lens of Sankofa, a decolonial and African knowledge philosophy and worldview, to explore how Okorafor uses settings, characterisation, and ancient African traditional knowledge to achieve a decolonial turn in speculative fiction. By centring Sankofa, Okorafor sets her fantastic stories in Namibia among the indigenous and marginalised Himba people. She creates strong female characters who embody a multiplicity of beings operating intricately in a complex earthly, spatial and spirit world, and she exploits ancient African traditional culture and knowledge systems to create her 'organic fantasy' and a world of speculative fiction that transforms Western understandings of the genre.
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Nicol, B. "LINDEN PEACH. Masquerade, Crime and Fiction: Criminal Deceptions (Crime Files Series)". Review of English Studies 58, nr 236 (16.07.2007): 588–89. http://dx.doi.org/10.1093/res/hgm071.

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Cârstea, Daniela. "The Picture of Dorian Gray; The Return of the Real". European Journal of Behavioral Sciences 4, nr 3 (20.12.2021): 1–5. http://dx.doi.org/10.33422/ejbs.v4i3.713.

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I feel that my analysis, which endeavours to articulate the operational Lacanian concepts onto Wilde’s fiction, will achieve a “liberating” of the meaning from the text, an enterprise which can be equated with a transvaluation of the textual psychical values. One of the points I argue in what follows is that the readers of The Picture of Dorian Gray are encouraged by Wilde to transcend the limited perspective of the fictional selves (characters) in the story. To use Lacanian terms, consciousness equals a fictional construct that performs a masquerade of truth because it is attached to signifiers that reside beyond the subject in the Other (and in the unrepresented sphere of the Real). Approaching the text from a Lacanian perspective will make the reader aware of how one constructs an ideal image of one’s ‘self’ and seduces others into recognizing it. The results that such an enterprise yields point to the fact that there is an eccentric relationship between what a person (Dorian Gray, in our case) is and what one desires, a lack-in-being that haunts the human subject. Even if the portrait fills his lack-in-being, by bestowing upon him everlasting beauty, there remains a gap within itself likewise. It lacks life. To conclude, the portrait becomes more Dorian-like in proportion as Dorian himself gets alienated from his self, so that eventually it becomes the real Dorian. When the latter fully realizes that, he tries to reconquer his life, even if the price is his death.
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Spacks, Patricia Meyer, i Terry Castle. "Masquerade and Civilization: The Carnivalesque in Eighteenth-Century English Culture and Fiction." Eighteenth-Century Studies 21, nr 1 (1987): 98. http://dx.doi.org/10.2307/2739030.

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Rozprawy doktorskie na temat "Masquerades, fiction"

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Ellis, Mark Richard. "A masquerade dance of liars : reality, fiction and dissimulation in immersive theatre". Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/19278/.

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This research engages with the complex relationship between reality and fiction in immersive theatre. It proposes a theoretical standpoint, based upon the constructivist epistemological theory of Maturana (1980) and Schmidt (1984), which allows critical analysis of the reality/fiction complex. The study then tests this method of analysis on nine existing pieces of work by other artists. The findings from this analysis are then used to explore the notion of dissimulation, the manner by which the constructed fictional artifice of the performance is presented in such a way as it begins to appropriate the conventions of everyday reality. Dissimulation is also used as the basis upon which to suggest points for development in existing work as a means of highlighting the potential use of analysis for practitioners. The application of the strategies used to dissimulate existing work along with application of theory behind the process of dissimulation are then applied practically to the creation of scripts for two new pieces of work, Menagerie and Wonderland. The study also suggests the utilisation of the technique of retrospecting and the proposes the concept of char/actor augmentation as a means of facilitating improvisation through a performance script. The study concludes that the application of constructivist epistemological theory through the proposed method of analysis can reveal information about the manner by which works of immersive theatre apply dissimulative strategies that is re-applicable in the creation of new work and therefore presents a means of thinking that can help practitioners to develop new and existing work.
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Simpson, Jennifer Lesley. "'Magic, spectacle and illness' : masquerade and gender identity in nineteenth century fiction by women". Thesis, University of Aberdeen, 1999. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU484336.

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Catherine Clément, in The Newly Born Woman, regards 'magic, spectacle and illness' as the performance of the feminine. In studying the narratives of masquerading and miming women, these are the images which I locate: the magic of the sorceress, the spectacle of the transvestites or the illness of the hysteric. Within this thesis, I study instances of masquerade or mimicry, and their influence upon gender identity, in a selection of texts by nineteenth century women written for a particularly feminine audience: Belinda (1801) by Maria Edgeworth, Lady Audley's Secret (1861) by Mary Elizabeth Braddon, The Chase, Or, A Long Fatal Love Chase (1866) by Louisa Alcott, Through One Administration (1883) and The Secret Garden (1913), both by Frances Hodgson Burnett. My approach is neither historical nor chronological. Moving away from historicising the masquerade, I mirror the fate of the masked occasion in history: its attenuation and sublimation inside the domestic. Rather than focusing on contextuality, I concentrate on textuality. The interiorised nature of that performance demands that my approach becomes theoretical, and in particular, psychoanalytic, given that both the masquerade and psychoanalysis deals with gender as construction and representation. By resisting chronology, I can express a reluctance to assume a progression towards a 'truth' or 'reality' and allow the masquerade to remain complex. Primarily I am interested in examining the 'theatrical' representation of the various female bodies written into the narratives. However, I am also concerned with textual masquerade/mime: whether the novels studied operate within a system of masquerade or mimicry and whether the discursive impulse is one of the capitulation or subversion. As I read femininity as performance, or as spectacle, constructed by a masculine audience, and represented by the feminine, I question the area 'behind-the-mask', and what lies there - indeed, whether it is possible to articulate it.
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Iglesias, Marisa C. "Secret Servants: Household Domestics and Courtship in Eliza Haywood’s Fiction". Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/310.

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In Eliza Haywood's fiction, as in eighteenth-century Britain, social restrictions repress the sexual desires of upper class women and men. Therefore, the secret desires of this social class often rely on a different group: domestic servants. Sometimes acting as confidants and other times as active players in the scheming, these servants are privy to the inner secrets of the households in which they live. In Haywood's Love in Excess (1719), Lasselia (1723), Fantomina (1725), and The History of Miss Betsy Thoughtless (1751), the servant class plays significant roles in the narratives. Since the role of the servant is the central issue in my interpretation of Haywood's works, the historical background of the relationship between master and servant in the eighteenth-century is significant to my investigation. Conduct books, a popular genre of the times, were written to offer practical instruction to domestic servants. Haywood's A Present for A Servant Maid; or the Sure Means of gaining Love and Esteem (1743), offers a view of Haywood's own attitude toward the servant class. In addition to her career as a writer of amorous intrigue, Haywood worked as both actress and playwright, and, because of her experience, elements of the stage can be seen in her works. I explore the influence of the theatre in Haywood's fiction and connect it to the prominent role of servants in her work. Though Haywood demonstrates that the servants' loyalty can be bought for the highest price, they are not ruled by the same sexual passion as are their employers. This area is of particular interest to my study. I explore whether the motive of financial gain is greater than sexual desire, or whether it is an awareness that aristocrats are not truly available to the servant class that accounts for the differences in erotic responses. Additionally, I explore how servants affect Haywood's narrative by acting as agents of change and argue that the social restrictions placed on the upper class and the awareness of the sexual freedoms the servant class bring master and servant closer together.
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Champagne, Raymond Leonard. "Evil's masquerade, a study of nature and American democracy in Herman Melville's fiction, 1846-1857". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ33351.pdf.

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Książki na temat "Masquerades, fiction"

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Haywood, Eliza Fowler. Masquerade novels of Eliza Haywood: The masqueraders (1724-25), Fantomina (1724), The fatal secret (1723), Idalia (1724) : facsimile reproductions. Delmar, N.Y: Scholars' Facsimiles & Reprints, 1986.

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Winstead, Linda. Cinderfella. New York City: Love Spell Books, 1998.

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Hermann, Iselin C. Prioritaire: En korrespondance udgivet af Jean-Luc Foreur : roman. København: Munksgaard-Rosinante, 1998.

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Griffiths, David. The masquerades of Nigeria: And, Touch. Amsterdam, The Netherlands: Harwood Academic Publishers, 1998.

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Beverley, Jo. Something wicked. New York: Signet, 2005.

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Cruz, Melissa De la. Masquerade. New York: Hyperion, 2008.

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Shulman, Emma. Qi miao de wan can. [Taibei Xian] Xindian Shi: Ren lei wen hua gong si, 2002.

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Day, Alexandra. Carl's masquerade. New York: Farrar, Straus, and Giroux, 1992.

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Carl's masquerade. New York: Farrar, Straus, and Giroux, 1992.

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The big day. London: Phoenix, 1993.

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Części książek na temat "Masquerades, fiction"

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Peach, Linden. "Mocking Modernity". W Masquerade, Crime and Fiction, 1–24. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230625402_1.

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Peach, Linden. "Gender and Performance in the Criminal Masquerade". W Masquerade, Crime and Fiction, 25–55. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230625402_2.

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Peach, Linden. "The Cadaver as Criminalised Text". W Masquerade, Crime and Fiction, 56–80. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230625402_3.

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Peach, Linden. "Where Does That Criminality Come From? Writing Women and Crime". W Masquerade, Crime and Fiction, 81–103. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230625402_4.

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Peach, Linden. "Agatha Christie, Dorothy L. Sayers and Sara Paretsky: The New Woman". W Masquerade, Crime and Fiction, 104–28. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230625402_5.

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Peach, Linden. "Masquerade, Criminality and Desire in Toni Morrison’s Love". W Masquerade, Crime and Fiction, 129–49. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230625402_6.

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Peach, Linden. "Writing the Serial and Callous Killer into (Post) Modernity". W Masquerade, Crime and Fiction, 150–72. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230625402_7.

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Peach, Linden. "Conclusion". W Masquerade, Crime and Fiction, 173–76. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230625402_8.

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McNutt, Donald J. "The City Behind the Masquerade of Fiction: Melville's The Confidence-Man". W Urban Revelations, 125–78. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003416982-5.

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"Fictions". W De Quincey’s Gothic Masquerade, 131–56. BRILL, 2004. http://dx.doi.org/10.1163/9789401202114_011.

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