Gotowe bibliografie tematyczne / Men, white – fiction

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Gotowa bibliografia na temat „Men, white – fiction”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Men, white – fiction"

Linkon, Sherry Lee. "Men without Work: White Working-Class Masculinity in Deindustrialization Fiction". Contemporary Literature 55, nr 1 (2014): 148–67. http://dx.doi.org/10.1353/cli.2014.0003.

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Armengol, Josep. "Sex and Text: Queering Older Men’s Sexuality in Contemporary U.S. Fiction". Innovation in Aging 4, Supplement_1 (1.12.2020): 826. http://dx.doi.org/10.1093/geroni/igaa057.3018.

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Abstract This paper will explore the representation of men’s aging experiences in contemporary U.S. fiction. While most gender-ed approaches to aging have focused on women, which has contributed to the cultural invisibility of older men, this study focuses on men’s aging experiences as men, thus challenging the inverse correlation between masculinity and aging. To do so, the study draws on a selected number of contemporary U.S. male-authored fictional works, which question the widely-held assumption that aging is a lesser concern for men, or that men and women’s aging experiences may be simply defined as opposed. The literary corpus includes male authors from different backgrounds so as to illustrate how (self-)representations of aging men vary according not only to gender but also class (Richard Ford), race (Ernest Gaines), and sexual orientation (Edmund White), amongst other factors. The presentation will thus end up challenging the conventional equation of men’s aging processes with (sexual) decline, exemplifying their plurality as well as irreducible contradictions.

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Carolin, Andy. "Apartheid's Immorality Act and the fiction of heteronormative whiteness". Tydskrif vir Letterkunde 54, nr 1 (24.03.2017): 111–28. http://dx.doi.org/10.17159/tvl.v.54i1.7.

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This article traces both the centrality and fragility of the figure of the heterosexual white male to the moral and ideological core of the apartheid regime. Through a comparative reading of Zakes Mda's The Madonna of Excelsior (2002) and Gerald Kraak's Ice in the Lungs (2006), the article examines how apartheid's Immorality Act functioned as the legislative mechanism to produce and police heteronormative whiteness. The randomness and unpredictability of sexual desire in both historical novels expose the tenuousness of this idealised heteronormative whiteness that lay at the centre of the apartheid project. Situated within the moral panic and political turmoil of the 1970s, the novels identify sex as a powerful lens through which to read the history of apartheid. While Mda's satirical novel focuses on transgressive interracial sexual desire, Kraak's realist text explores same-sex desire and intimacy. My reading of the two novels engages with the political history of apartheid's sexual policing and insists on the inextricable entanglement of its heteronormative and racial supremacist provisions. The traditional ideological centrality of the vulnerable white woman is displaced in the novels by white men whose transgressive sexual desires for black women (in Mda's novel) and other white men (in Kraak's) refuse the certainty and naturalness of heteronormative whiteness.

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Nathaniel, Steven. "Zora Neale Hurston, Anthropometrist". MFS Modern Fiction Studies 69, nr 4 (grudzień 2023): 644–68. http://dx.doi.org/10.1353/mfs.2023.a915960.

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Abstract: Zora Neale Hurston's academic scholarship began in physical anthropology, measuring Black bodies and relating their statistical data to racial type. While Hurston's critics have understood her subsequent work in fiction and folklore as fleeing this troubling research, this essay reconsiders her work in anthropometry as well as the narratives of embodiment that she curated in Mules and Men . Employing what Frantz Fanon in Black Skin, White Masks theorizes as "a slow composition" (111) of "self as a body," this rereading presents Hurston as an acute critic of eugenic interpretive methods whose writings anticipate the racism built into contemporary facial recognition algorithms.

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Bassamanan, Touré. "The man of Ernest J. Gaines' novelistic universe: between emasculation and self-assertion". International Journal of Social Sciences and Humanities Invention 6, nr 2 (28.02.2019): 5330–35. http://dx.doi.org/10.18535/ijsshi/v6i2.09.

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This paper highlights the different layers of meaning that characterize the notion of manhood in Gaines’ fiction. The quest for manhood represents an imperative for the frustrated men in the framework of the social context wherein they are emasculated. Here, manhood should be grasped through a binary paradigm. On the one hand, the expression of manhood equates with male domination and violence. On the other hand, due to social expectations, manhood refers to the struggle for freedom. It undermines the white racial superiority and it claims blacks’ humanity. Manhood fosters humanistic principles. Thus, it takes on a universal dimension.

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Stoneley, Peter. "Sentimental Emasculations: Uncle Tom's Cabin and Black Beauty". Nineteenth-Century Literature 54, nr 1 (1.06.1999): 53–72. http://dx.doi.org/10.2307/2902997.

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This essay reassesses the notion of passionlessness in relation to debates on race and women's fiction. In nineteenth-century writing by white men and women, the primitive other-animal, black, or Indian-becomes the touchstone of intact maleness in a smothering and emasculatory culture. To write about blackness is to write about desire, but it is also to avoid desire altogether: the black figure represents both sexuality and childish innocence. There is the same contradiction as that between "dumb beasts" and "the Beast," between the helpless and the wicked. But in the implicitly emasculatory scenarios of women's writing, this essay detects a rejection of female as much as of male desire. Women's novels both facilitate and impede a consuming gaze. In repeated episodes, the black male body is exposed and punished, celebrated and lamented, in the same moment. Blackness threatens to call forth or desublimate white desire, and white writers move between the sexual allure of blackness and the need to reaffirm the superiority of white discipline. The emasculatory scenario serves as another opportunity to assert a Christian, maternal love, even if, to the other readers, this can seem an unconvincing "cover story" for the texts' secret "black" desire.

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Taylor, Ryan. "Bryan Fuller’s Hannibal: Cannibalizing the canon". Journal of Screenwriting 13, nr 3 (1.11.2022): 347–59. http://dx.doi.org/10.1386/josc_00105_1.

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American storytelling has been dominated by White heterosexual men and such scripts/stories disseminate messages that support their authority by narratively or symbolically subjugating competing identities. Consequently, in order to open texts up to diverse meanings/representations, fans create their own works which better serve their desires/needs (what Henry Jenkins referred to as ‘textual poaching’ in 1992). But what happens when, having been given control of a canonical text, the fan becomes the scriptwriter who modifies the source material to reflect their own civic commitments? How might they differently negotiate White heterosexual men’s hierarchical authority and the subjugation of marginalized identities? The scripts for Hannibal (NBC 2013–15) allow us to answer such questions. In adapting Thomas Harris’s Hannibal Lecter novels to television, scriptwriter Bryan Fuller reconfigured and reshaped (rather than retold) the source material in a way which reflects the transformational practices of fan fiction. In what ways might Fuller’s reconfigured teleplays provide a platform for marginalized perspectives (and thus challenge the White heterosexual male’s dominance of the source text)? What is the discursive function of the scriptwriter in reshaping source material in order to speak to/for/about diverse and pluralistic identities? How might (and why does) Bryan Fuller’s scripts cannibalize the canon?

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Joe, Mi’sel, Sheila O’neill, Jessica Bound i Jocelyn Thorpe. "Newfoundland Mi’kmaw Resistance and Vibrancy in a History of Erasure". Canadian Historical Review 104, nr 3 (1.09.2023): 315–42. http://dx.doi.org/10.3138/chr-2022-0035.

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This article is one result of Indigenous-led collaboration that challenges the erasure of Indigenous people in the history of Newfoundland. It argues that, during the nineteenth and early twentieth centuries, Mi’kmaw community members were historical actors living in relationship with the land and waters that sustained them. They challenged encroachments onto their territory and travellers’ ideas about the Mi’kmaq, and they lived their own lives in their own territory with dignity, knowledge, skills, and humour. It is possible to discern these characteristics of Mi’kmaw life even within the historical record, written almost exclusively by white men, that focuses mainly on non-Indigenous people’s experiences. The article examines both writing deemed literature and writing deemed non-fiction, demonstrating that both can interrupt the historical erasure of Indigenous peoples and relationships to territory. Historians can learn from, and be inspired by, writers and scholars in a number of disciplines who, like historians, grapple with how to be responsible storytellers in the present-day while offering insight into the past.

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Corber, Robert J. "Romancing Beale Street". James Baldwin Review 5, nr 1 (wrzesień 2019): 178–90. http://dx.doi.org/10.7227/jbr.5.12.

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The author reviews Barry Jenkins’s 2018 film adaptation of Baldwin’s novel, If Beale Street Could Talk, finding that Jenkins’s lush, painterly, and dreamlike visual style successfully translates Baldwin’s cadenced prose into cinematic language. But in interpreting the novel as the “perfect fusion” of the anger of Baldwin’s essays and the sensuality of his fiction, Jenkins overlooks the novel’s most significant aspect, its gender politics. Baldwin began working on If Beale Street Could Talk shortly after being interviewed by Black Arts poet Nikki Giovanni for the PBS television show, Soul!. Giovanni’s rejection of Baldwin’s claims that for black men to overcome the injuries of white supremacy they needed to fulfill the breadwinner role prompted him to rethink his understanding of African American manhood and deeply influenced his representation of the novel’s black male characters. The novel aims to disarticulate black masculinity from patriarchy. Jenkins’s misunderstanding of this aspect of the novel surfaces in his treatment of the character of Frank, who in the novel serves as an example of the destructiveness of patriarchal masculinity, and in his rewriting of the novel’s ending.

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Kibble, Steve, i Ray Bush. "Reform of Apartheid and Continued Destabilisation in Southern Africa". Journal of Modern African Studies 24, nr 2 (czerwiec 1986): 203–27. http://dx.doi.org/10.1017/s0022278x00006856.

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Continuous pressure against the South African Government has led to what previously seemed unthinkable: the reform of apartheid. Strikes from 1973 onwards, the Soweto revolt in 1976, the increasing resistance from school and consumer boycotts, the strengthening black trade-union movement and mass political organisations, and the unceasing campaign by the African National Congress, have led the State President, P. W. Botha, to declare in early 1986 that apartheid in its present form cannot be maintained, despite strong reactions from sections of Afrikaner interests. Many of the structures thought essential to racial segregation are to go: the pass laws controlling the movement of African men and women, the fiction that the ‘Bantustans’ are ’independent’ or ‘national’ states, and that urban blacks are citizens of other countries. There is even the promise of political representation for Africans. These measures appear to mark the end of Botha's attempt to create a divided black working class — some with residence rights in white-only areas, and others, notably unskilled migrants, without. The specific shape of the more racially-integrated South Africa which Botha promises remains unclear. It is not surprising in a recession that the President appears to have recognised the inappropriateness and disproportionate cost which maintaining structures of black recruitment to white employers has on the state's exchequer — not including the cost of policing influx control.

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Rozprawy doktorskie na temat "Men, white – fiction"

Wehmann, Andrew. "Sad White Man Stories: and other banana fantasies". University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1460984420.

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Bacon, Edwin Bruce. "Confronting eternity : strange (im)mortalities, and states of undying in popular fiction". Thesis, University of Canterbury. English, 2014. http://hdl.handle.net/10092/9680.

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When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities. I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series

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Martin, Jocelyn S. "Re/membering: articulating cultural identity in Philippine fiction in English". Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210163.

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This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices.

Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship.

The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”.

On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort?

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Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire.

Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques.

Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature.

Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" .

En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort?

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Fanning, Sarah Elizabeth. "Changing fictions of masculinity : adaptations of Jane Eyre and Wuthering Heights, 1939-2009". Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8524.

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The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.

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Kampf, Raymond William. "Fauxtopia". VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/749.

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To all who come to this fictitious place:Welcome.Fauxtopia is your land. Here, age relives distorted memories of the past, and here, youth may savor the challenge of trying to understand the present. Fauxtopia is made up of the ideals, the dreams and the fuzzy facts which have re-created reality... with the hope that it will be a source of edutainment for all the world.Ray KampfFauxtopia DedicationApril 1st, 2004

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Carman, Luke. "Sons of shame : deconstructing white male subjectivity in Greater Western Sydney". Thesis, 2016. http://hdl.handle.net/1959.7/uws:37524.

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This thesis is composed of a creative component, a collection of short stories and monologues entitled An Elegant Young Man, which is a fictional evocation of twenty-first century life as seen by an awkward and uncertain young man from the provinces of Sydney’s western suburbia; and an exegesis examining the role of shame in constructs of white male subjectivity through the literary theories of Bob Hodge and Vijay Mishra, and the writings of contemporary Australian author Brendan Cowell. An Elegant Young Man is set in and around Sydney’s western suburbs, with particular emphasis on the area of south-west Sydney surrounding Liverpool. The narrator, a young man named Luke Francis Carman, is intended as an ambiguous configuration: bursting with ecstatic exuberance on the one hand, painfully self-conscious and shamefaced on the other – an introverted bookworm who dabbles in the theatre of professional wrestling. In this and other respects he might be seen as a reflection of the schizoid nature of Australian white male subjectivity set out in the literary theories of Hodge and Mishra in Dark Side of the Dream and explored in this exegesis. Contributing to this character portrayal is the influence of western Sydney itself, a place in which the incoherencies of the colonial past are intensified by its literary and cultural distance from the metropolitan centre. Another dimension of the narrator’s character is his writing style and particular way of seeing things, which is a consequence of his reading life. Luke Francis Carman’s explicit literary influences are largely American writers – Kerouac, Ginsberg, Whitman and Hemingway. These white male writers offer the narrator an idealised, bold, unabashed openness to the possibilities of a subjectivity that can incorporate even the mortification of shame – an affect which Luke feels is ever present in his own self-consciousness, and in his attempts at interacting with those around him. The exegetical component of this thesis argues that if Bob Hodge and Vijay Mishra were correct when they proposed that Australian culture should be seen as a schizophrenic psyche of repressed and explicit silences constructed against the guilt and rootlessness of colonial illegitimacy, then the writer Brendan Cowell is both the predictable and necessary result. Representing the cowed, tamed, domesticated, artistic counterpart of the ‘Aussie’ Australian – white, terse, vulgar, masculine, sexually potent – the figure of Cowell is a confessional one, offering pseudo-privileged access to the operations of shame and shamelessness in the mythical ‘Aussie’ male. The exegesis explores this complex in Cowell’s work – with particular emphasis on his 2010 novel How It Feels – through the lens of shame as developed by affect studies and postcolonial theory, to argue that Hodge and Mishra’s analysis still applies to a culture that has changed considerably since the publication of Dark Side of the Dream, and to offer a more nuanced understanding of the white male Australian subject as he stands in this young and uncertain century. (ACCESS TO THE NOVEL PART OF THE THESIS IS RESTRICTED INDEFINITELY)

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Książki na temat "Men, white – fiction"

1861-1909, Remington Frederic, red. Red men and white. New York: Barnes and Noble, 2009.

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Motley, Annette. Men on white horses. London: Macdonald, 1988.

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Njue, Geoffrey K. White men in black skin. Nairobi: Simpet Kenya Limited, 2018.

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Bulla, Clyde Robert. Squanto, friend of the white men. New York: Scholastic, 1991.

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Strane, Maxine. Tomo and the coming of white men. [United States]: M. Strane, 2001.

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Beatty, Paul. The white boy shuffle. New York: Henry Holt and Co., 1997.

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Beatty, Paul. The white boy shuffle. London: Minerva, 1996.

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Salinger, Steven D. White darkness. New York: Crown Publishers, 2001.

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Stukas, David. Wearing Black to the White Party. New York: Kensington Books, 2003.

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Nicoll, Ruaridh. White male heart. Boston: Justin, Charles & Co., Publishers, 2003.

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Części książek na temat "Men, white – fiction"

Armengol, Josep M. "Dangerous Liaisons? Friendships Between Men in Western History and Culture". W Rewriting White Masculinities in Contemporary Fiction and Film, 107–29. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-53349-5_6.

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Tavares, Braulio. "João Guimarães Rosa’s “A Young Man, Gleaming, White” and the Protocol of the Question". W Latin American Science Fiction, 61–72. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137312778_4.

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Baden, Denise, i Jeremy Brown. "Climate Fiction to Inspire Green Actions: A Tale of Two Authors". W Storytelling to Accelerate Climate Solutions, 203–24. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54790-4_10.

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AbstractMany works of ‘climate fiction’ have a tendency to depict an apocalyptic future that imagines a planet in dystopian collapse. While hope is that such cautionary tales will prompt constructive behavior change, unintended consequences can occur leaving some audiences feeling defensive, hostile, or overly anxious. In contrast, there is a body of evidence indicating that stories and characters that model positive solutions to climate change are more likely to inspire audiences to imitate the fictional role models. This positive approach is shared by the authors of this chapter—Denise Baden in her rom-com Habitat Man and Jeremy Brown (and team) in the comic series The Renegades: Defenders of the Planet. This chapter draws on their experience to offer advice to creative writers within climate fiction. While there are differences in the depiction of gentle versus radical solutions, both authors advocate the need for stories that generate a sense of agency, hope, and courage.

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Brindle, Kym. "Dissident Diarists: Mick Jackson’s The Underground Man and Michel Faber’s The Crimson Petal and the White". W Epistolary Encounters in Neo-Victorian Fiction, 147–70. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137007162_7.

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O’Brien, Daniel. "Saving the World for White Folks? Will Smith Racialises Science Fiction as Black Man and Man in Black". W Black Masculinity on Film, 177–96. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59323-8_9.

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Locher, Miriam A., i Thomas C. Messerli. "“What Does Hyung Mean Please?”: Moments of Teaching and Learning About Korean (Im)politeness on an Online Streaming Platform of Korean TV Drama". W Exploring Korean Politeness Across Online and Offline Interactions, 121–54. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-50698-7_6.

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AbstractIn this paper we combine an interest in the pragmatics of fiction with interpersonal pragmatics by exploring how Korean (im)politeness norms surface and are negotiated in fictional TV drama. Our data is derived from the streaming platform Viki.com, which allows viewers to comment on the episodes they stream. Building on previous work by (Locher, Journal of Pragmatics 170:139–155, 2020), we first report on the pervasive occurrence of scenes containing ‘moments of relational work’ in Korean TV drama and then explore how viewers comment on this very relational work. While our quantitative results show that viewers do indeed pick up on (im)politeness negotiations (in linguistic and embodied, multimodal form), this finding is relativized by the many other functions that the comments also have. Nevertheless, we are able to show question–answer sequences about relational work and identity ‘moments of teaching and learning’ about Korean (im)politeness in this online fan community.

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Hutchings, William. "13. An Epistle to Allen, Lord Bathurst". W ‘Wit’s Wild Dancing Light’, 155–64. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0372.14.

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Chapter 13 illustrates how An Epistle to Allen Lord Bathurst constructs its argument by a series of character-sketches, real-life and fictional. The excessively frugal Old Cotta and his wildly extravagant son, Young Cotta, constitute a pair of extremes, while Pope’s addressee represents an admirable mean, a standard by which comic or tragic failures can be measured. Bathurst, however, could be viewed as financially and socially favoured, so the ‘Man of Ross’ (the real John Kyrle) is brought in to show that generosity can be squared with humble means. His opposite is the debauched aristocrat, George Villiers, Duke of Buckingham. Pope depicts him with gleeful vigour, but leaves challengingly open the question of how such a grotesque figure fits with the poem’s maxim that ‘Extremes in man concur to general use’.

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Kuismin, Anna. "“The Whole World Had the Sound of the Barrel Organ”: Representations of Fairs in Finnish Newspapers and Fiction from the 1870s to the 1910s". W Encounters and Practices of Petty Trade in Northern Europe, 1820–1960, 199–220. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98080-1_9.

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AbstractThe chapter investigates representations of popular amusements in Finnish newspapers, periodicals, and fiction from the 1870s to the 1910s. Besides the merry-go-rounds, panoramas and exhibitions of exotic animals attracting crowds from the countryside, the entertainers included sellers of broadside ballads. While the latter type of trade was predominantly in the hands of Finnish-speaking men, the barrel organ grinders came from other ethnic backgrounds. The focus of this chapter is on depictions of sellers of songs and on the ways in which they were seen by people who bought their commodities. The period has been called “the golden age of broadside ballads”, during which the culture of creating, selling, and consuming (singing, reading) these texts belonged to the unschooled common people, while the educated writers repeatedly attacked these activities.

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Podnieks, Elizabeth. "“their mothers, and their fathers, and everyone in between”: Queering Motherhood in Trans Parent Memoirs by Jennifer Finney Boylan and Trystan Reese". W Narratives of Motherhood and Mothering in Fiction and Life Writing, 33–54. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-17211-3_3.

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AbstractIn their respective memoirs Stuck in the Middle with You: A Memoir of Parenting in Three Genders (2013) and How We Do Family: From Adoption to Trans Pregnancy, What We Learned About Love and LGBTQ Parenthood (2021), Jennifer Finney Boylan and Trystan Reese illuminate how mother and father are concepts that are varied, mutable, and fluid. Boylan, a university professor at Colby College in Maine and best-selling author, reveals that she is a transgender woman, formerly a husband in a long-term marriage, and father of two. Boylan writes from her position as a second mother to her children, and as the still-married partner of Deirdre Boylan. Reese, a social justice advocate, is a transgender man who not only adopted two children with his husband, Biff Chaplow, but who also gave birth to their biological baby. In my analysis herein, I argue that through narratives that conflate the conventional and the radical, Boylan and Reese normalize trans parenthood while queering normativity. Drawing on scholarship from queer, maternal, and life writing studies, and foregrounding the themes of transitioning, reproduction, and childrearing, I showcase how Boylan and Reese use their memoirs to open up vital spaces for new and inclusive notions of family.

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Banco, Linsey Michel. "2 The Homoerotics of Nationalism White Male-on-Male Rape & the ‘Coloured’ Subject in Mark Behr’s The Smell of Apples". W Men in African Film and Fiction, 28–41. Boydell and Brewer, 2011. http://dx.doi.org/10.1515/9781846159329-004.

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Streszczenia konferencji na temat "Men, white – fiction"

CÎNDEA GÎȚĂ, Iulia Elena. "AN IN-DEPTH STUDY OF CHINESE CULTUREMES – CARRIERS OF THE MOST SUBTLE CULTURAL ALLUSIONS – EXCERPTED FROM CHINESE CONTEMPORARY NOVELS IN ROMANIAN TRANSLATION". W Synergies in Communication. Editura ASE, 2022. http://dx.doi.org/10.24818/sic/2021/04.01.

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Culturemes are the markers of the source culture, which can reach the reader in the target language only through the ability of the translator, who must, in fact, be a great connoisseur of the most hidden cultural details. For the transposition of a foreign culture into a new culture, for a proper communication between them, a loan is needed, retrieval and processing of information so that it is accepted. The motivation behind this study is to provide an overview of how to approach culturemes in the translation of works of contemporary Chinese literature in Romanian, works characterized by great linguistic and extra-linguistic generosity. In order to achieve this goal, we followed the stages of identifying the culturemes from thirty-one Chinese contemporary novels translated in Romanian; followed by creating a corpus based on fourteen categories and five equivalence methods to ensure the cultural equivalence, coherence and homogeneity of Chinese works recreated for the Romanian reader. Finally, we performed an in-depth study of a selection of culturemes from each category, with the aim of showing their distribution in the Romanian translation of Chinese fiction. The study intends to provoke but also to help raise the awareness that translations are not only transpositions (by this we mean moving from one linguistic register to another without operating the text as part of a cultural whole, approaching it externally to all of its sources of influence from the culture in which it has been created) of a work in another language, but they have the primary role of enriching knowledge about one's culture, civilization, literature – i.e. China’s cultural heritage for the present study. Culturally-aware literary translations are the most effective and most stable manner of intercultural exchange, of international prosperity of a culture, of understanding and acknowledging the cultural specifics of one nation. The intertextual references – the culturemes – studied, are part, as will be presented, of all cultural spheres, from those denoting the daily life of the Chinese, the food and basic needs, to those denoting holidays, toponymy, units of measurement, history, but also those that are politically motivated, while also spiritual, subtle, erudite, which only close study, extensive knowledge and diligent work can drive the translator to find and transfer them to the target reader.

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Moncayo, Sergio, Sandra Szlapa, Ahmed AlJanahi i Sayed Abdelrady. "One of a Kind BHA Design for ERD Wells in Bahrain". W International Petroleum Technology Conference. IPTC, 2022. http://dx.doi.org/10.2523/iptc-22658-ea.

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Abstract An innovative BHA was designed to fit slim extended reach wellbore profiles. Precise BHA design was essential to reach the bottom of the well with a scrapper and circulate to clean the hole efficiently for enabling fracking operations with Plug & Perf technology to be performed in extended reach horizontal wells in Bahrain. Plug & Perf operations for multistage fracking required to run plugs through a cased extended horizontal section with an internal diameter of 4" to isolate the different stages to be stimulated. The max OD of the plug was 3.625 in leaving a marginal clearance between the plug and the casing, making hole cleaning the primary risk to deal with. For hole cleaning it was important to design the slim BHA with a maximum OD of 3.125 in and ensure reaching bottom. Torque & drag simulations were run using Extended Reach Architect software specialized for drilling ERD wells. This innovative use of the program required creating a fictional section in the well schematic where the new BHA design was simulated. During the execution phase, the simulations proved their accuracy while pointing out the depths where the string weight is lost, and a change in pipe diameter and weight is crucial to continue running in hole. This unconventional BHA design met not only the technical requirements, but also the logistics challenges coming from the current working pipe inventory. The team looked for alternatives by designing several BHA scenarios, changing the position, amount, weight, and diameter of pipes to be used. Innovation and accurately applied well engineering created a BHA design process that unlocked the possibility to perform the completion operations of ERD horizontal wells. Ultimately 6 ERD wells were successfully prepared for fracking operations. The implementation of this BHA design workflow decreased the number of clean out runs from 5 attempts to 1 successful run in every well, therefore reducing the operational time by 12 days per well, in overall saving 75 days. Helping to bring oil production faster in Bahrain.

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Moncayo, Sergio, Sandra Szlapa, Zeyad Zayed, Ahmed AlJanahi i Sayed Abdelrady. "One of a Kind BHA Design for ERD Wells in Bahrain". W International Petroleum Technology Conference. IPTC, 2022. http://dx.doi.org/10.2523/iptc-22658-ms.

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Ings, Welby. "Talking with Two Hearts: Navigating Indigenous Narratives as Research". W LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.177.

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Floyd Rudman (2003) notes that by enlarge, contemporary theory posits biculturalism as a positive and adaptive phenomenon. However, as early as 1936, commentators like Redﬁeld et al. proposed that “psychic conﬂict” can result from attempts to reconcile different social paradigms inside bicultural adaptation (p. 152). Child (1943/1970) also argued that biculturalism cannot resolve cultural frustrations and accordingly, they can be more distressing than a commitment to one culture or the other. The tensions these early theorists noted I found significant when writing and directing my recent feature film PUNCH (Ings, 2022). When creating this work I drew on both my Māori and Pākehā (European) ancestry, and my experience as a gay man who was raised in a heteronormative world. In creating the film’s characters I navigated tensions, working within and between cultural spaces as I wove experience into a fictional examination of what it is to be an outsider in a world that you call home. In this pursuit, I often found myself transgressing borders in my effort to give voice to an in-betweenness that was impure and at times disruptive. While being appreciative of cultural values and practices, I sought ways of expressing identities that are liminal. However, in designing the in-between, like many bicultural creatives I faced accusations of diminished purity. Significantly, I found myself encountering a form of cultural monitoring and pressure to reshape what I knew to be embodied truth because it failed to sit comfortably with the presuppositions of culturally anxious funding bodies, producers and distributors. Their opinions as to what authentically characterised cultural spaces (to which they did not belong), proved challenging. This was because ultimately I knew that audiences for the film would contain people from the in-between, from the liminal, the underrepresented and the marginalised … who would be seeking an expression of lived experiences that rarely appear in cinema. Using scenes from the film PUNCH, this presentation unpacks ways in which cultural networking, verification and responsibility were navigated to reinforce an attitudinal position of ‘positive cultural dissonance’ (Faumuina, 2015). By adopting this stance, I no longer saw biculturality as a diminishment or watering down of integrity, instead it was appreciated as a space of fertile tension and creative synergy. Using positive cultural dissonance as my turangawaewae (place to stand), I negotiated a research project that pursued the resilient beauty of in-betweenness in a story of bicultural, gender non-binary, small town conflict and resolution.

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M. Ali Jabara, Kawthar. "The forced displacement of Jews in Iraq and the manifestations of return In the movie "Venice of the East"". W Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/1.

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The character of the Jew was absent from Iraqi cinematic works, while it was present in many Arab cinematic works produced in other Arab countries, and the manner of presenting these characters and the goals behind choosing that method differed. While this character was absent from the Iraqi cinematic narration, it was present in the Iraqi novelist narration, especially after the year 2003. Its presence in the Iraqi narration was diverse, due to the specificity of the Iraqi Jewish character and its attachment to the idea of being an Iraqi citizen, and the exclusion and forced displacement that Jews were subjected to in the modern history of Iraq. This absence in the cinematic texts is a continuation of this enforced absence. The Jewish character was never present in the Iraqi cinematic narration, as far as we know, except in one short fictional movie, which is the subject of this research. The research dealt with the movie “Venice of the East 2018” by screenwriter Mustafa Sattar Al-Rikabi and director Bahaa Al-Kazemi. We chose this movie for several reasons, some technical and some non-technical. One of the non-technical reasons is that feature cinematic texts rarely dealt with Jewish characters. The movie is the only Iraqi feature movie, according to our knowledge, produced after 2003, dealt with these characters, and assumed that one of them would return to Iraq. Therefore, our choice was while we were thinking of a research sample dealing with the personality of the Iraqi Jew and what is related to him and how it was expressed graphically. As for the technical reasons, it is due to the quality of the cinematic language level that the director employed to express what he wants in this movie, whose only hero is the character of the unnamed Jewish man played by the Iraqi actor (Sami Kaftan). As well as, many of the signs contained in the visual text that provide indications that may be conscious or unconscious of the situation of this segment of Iraqis, and this will become clear in the course of the research. 4 The research is divided into a number of subjects, including historical theory and applied cinema. The historical subjects included a set of points, namely (the Jews who they are and where they live) and (their presence in Iraq). The research then passed on the existence of (the Jewish character in the Iraqi narrative narrative), and how the Iraqi novelist dealt with the Jew in his novels after 2003, and does the Iraqi narration distinguish between the Jew and the Israeli or the Zionist. The applied part of the research followed, and included a (critical view of the movie) and then passed on the cinematic narration of events in the last subject (the narration of the cinematography). We studied the cinematic narration from three perspectives (cinematic shots, camera movement, camera angle and point of view), the research concluded with a set of results from criticism and analysis. It is worth mentioning that this research is an integral part of a previous unpublished study entitled (Ethnographic movie as artistic memory), which is an ethnographic study of the personality of the Jew in the Iraqi short movie.

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