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Gotowa bibliografia na temat „Stalkers (fiction)”

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Data publikacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Stalkers (fiction)"

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Р.В., Любарский,. "Carlos Castanedaʼs Concepts in Viktor Pelevinʼs Novel “Secret Views of Mount Fuji”". Вестник Рязанского государственного университета имени С.А. Есенина, nr 3(76) (6.01.2023): 92–103. http://dx.doi.org/10.37724/rsu.2022.76.3.010.

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Актуальность изучения влияния идей Карлоса Кастанеды на творчество Виктора Пелевина определяется тем, что проблема художественной условности становится одной из привлекающих внимание исследователей. Вторичная условность в творчестве Пелевина рассматривается в рамках обновления нереалистических художественных приемов. Проблема вторичной условности характеризуется новым подходом использования эзотерического в современных постмодернистских романах, в том числе и через концепции Кастанеды, чем продиктована своевременность обращения к данной теме. В частности, обновление художественной условности с помощью концепций Кастанеды находит отражение в романе Пелевина «Тайные виды на гору Фудзи». Цель данной статьи — изучение романа «Тайные виды на гору Фудзи» в контексте воздействия идей Кастанеды. Предмет исследования — специфика реализации в данном произведении воззрений Кастанеды в контексте вторичной реальности. В статье анализируется художественное воплощение таких концепций Кастанеды, как «сталкинг», «эманация Орла» (как часть буддийского учения о дхьянах). Исследуется отражение концепций «сталкинга», «бога Орла», «дарования и пожирания осознания» в качестве художественно преображенной основы мистического феминизма. Рассмотрена кастанедовская «сновидческая действительность» как художественная модель отдельной реальности, в которой обитает божество Пелевина. Сделан вывод о том, что концепция «дарования и отбора осознания» в произведении Пелевина подверглась преобразованию определенного характера. Также нами установлено, что с помощью эзотерических идей Кастанеды Пелевин высмеивает принцип гендерного превосходства как ведущую черту феминистического движения. The exploration of the influence of Carlos Castanedaʼs works on Viktor Pelevinʼs works is relevant, for the issue of conventionality is of great research interest. The implausibility of Pelevinʼs works is viewed through the prism of artistic methods that are used by modern writers to create an unlikely universe. The issue of secondary artistic convention is characterized by a new approach to the use of esoteric elements in postmodern novels, including novels by Carlos Castaneda, which accounts for the relevance of the research. Castanedaʼs influence on artistic conventionality can be seen in Pelevinʼs novel “Secret Views of Mount Fuji”. The aim of the article is to investigate the novel “Secret Views of Mount Fuji” through the prism of Castanedaʼs artistic influence. The object of the research is the implementation of Castanedaʼs views in the context of a secondary reality. The article analyzes the artistic embodiment of such concepts of Castanedaʼs fictional universe as “stalkers”, ”Eagle emanation” (as an element of Buddhist philosophy of dhyanas), “bestowing awareness”, and “devouring” in magical feminism fiction. Pelevinʼs deity lives in Castanedaʼs art-of-dreaming universe. The author concludes that Castanedaʼs ideas of en-dowing one with awareness and depriving one of awareness undergo some transformation in Pelevinʼs works. The author underlines that Pelevin uses Castanedaʼs esoteric ideas to ridicule gender superiority as a leading feature of feminism.
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Gadelha Parente, Lucas. "Da Zona enquanto espaço pregnante". Revista Prumo 4, nr 7 (15.11.2019): 124–37. http://dx.doi.org/10.24168/revistaprumo.v4i7.1132.

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The present article results from research around the concept of Zone in what refers to a boundary, symbolic and urban space that activates multiple networks of meaning according to its use in social history, literature, cinema, urbanism and theory of art. Secondly, the text deals with the stalker as a character who traces the paths of the Zone. The article analyzes its emergence in Soviet science fiction, in modern cinema, and its unfolding in theoretical discussions, relating both to cyberspace and to a number of contemporary pedestrian practices. Key-Words: cyberspace; misery belt; science fiction; urbanism.
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Vladiv-Glover, Slobodanka. "Belief in Zamyatin’s we and Tarkovsky’s Stalker: Critique Versus Legitimation of Utopia Through Art". Transcultural Studies 9, nr 1 (2013): 31–45. http://dx.doi.org/10.1163/23751606-00901003.

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The paper offers a comparative analyses of a novel and a film with a science fiction theme, but instead of interpreting the theme, the analysis interprets the structure of the two works. The claim is made that the narrative structure of a work (which, according to the Structuralist model, is much more encompassing than the linear narrative) is implicated in the construction of belief and value. On analysis, the value constructed in Zamyatin’s novel is that of a heterogeneous Modernist subject of the unconscious, while Tarkovsky’s film is ambivalent but could be read as a pseudo-scientific utopia of sectarian ‘pure belief’.
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SARHAN, QASSIM, i ZAHRAA' SAHIB. "The Sympathetic Vampire:A Study of Anne Rice’s Interview with the Vampire". Kufa Journal of Arts 1, nr 18 (21.04.2014): 33–60. http://dx.doi.org/10.36317/kaj/2013/v1.i18.6429.

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The myth of the vampire has continued to frighten and fascinate people all over the world. The idea of an undead night-stalker that feeds on human blood has been around for centuries and endures to this day. Numerous countries and cultures across the globe have personal deviations of a similar mythical entity. No matter the variation, all the vampire tales have a key commonality ‒ the lust for human blood. The cornerstone upon which all the vampire characters now turn was established in 1897 byBram Stoker in his novel Dracula which, since its publication, has never been out of print and its title character, Count Dracula, has become an icon of terror that inspired many subsequent novels and stories of the vampire fiction genre. However, only a handful of these novels were considered of literary merit. That handful includes the works of Anne Rice (1941‒) in which she develops a new way of portraying the vampire in fiction. The figure of vampire has changed from the evil and menacing figure of Dracula to a kinder and more sympathetic vampire who questions the meaning of its existence.
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Manning, Pascale M. "“There is nothing human in nature”". Nineteenth-Century Literature 74, nr 4 (marzec 2020): 473–501. http://dx.doi.org/10.1525/ncl.2020.74.4.473.

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Pascale M. Manning, “‘There is nothing human in nature’: Denying the Anthropocene in Richard Jefferies” (pp. 473–501) This essay contends that the work of the nineteenth-century British writer and naturalist Richard Jefferies embodies both a recognition and a radical denial of the Anthropocene, expressing a nascent form of the ambivalence that stalks our contemporary recognitions and misrecognitions of the human in/and nature. Drawing upon a range of Jefferies’s writings—both his essays and his autobiography in addition to his fiction—it argues that there exists in Jefferies’s work a recurring vein of anti-ecological thought, particularly evidenced in the way it frequently depicts strict boundary lines, whether between agricultural and urban spaces, between civilization and wild nature, or between the human and the natural world. Taking issue with recent ecocritical accounts of Jefferies’s post-apocalyptic novel After London (1885), this essay rereads Jefferies’s novel in light of the wider range of his writings to argue that it is most usefully read not as a proto-ecological rebuke to the unsustainability of human agro-industrial practices, nor as a prophetic evocation of a world re-greened by the collapse of those practices, but rather as the irresolute culmination of a career spent both testifying to the essential inviolability of nature and bearing witness to the mounting evidence of anthropogenic rupture.
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Pereira, Ana Carolina. "Monsters". After Dinner Conversation 2, nr 1 (2021): 70–82. http://dx.doi.org/10.5840/adc2021217.

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What does it mean to be a monster? How do you teach people to become accustomed to seeing things they don’t initially like or understand? Whose obligation is it to break through stereotypes and create a deeper understanding, the person who is afraid, or the object of their fear? In this work of philosophical short fiction, a mother takes her child out to the park even though there are ongoing rumors of “monsters” that roam their suburban neighborhood. Those fears seem to be true, and seem to imply this is a unique world, as the driver of an ice-cream truck suffers from severe, and grotesque, physical deformities. He says the reason he works a job and goes out in public is to help others get used to seeing “people” like him. On their walk home the narrator is continually concerned about the monsters that lurk in the neighborhood as she questions if leaving the house was a good idea. She feels she is being stalked by one of the monsters as they rush back to their home. They reach relative safety when her husband sees them and brings them onto their property. That’s when she sees, newly spray painted on the garage door of their suburban house “Whites only, negros get out.” Only then do we realize that the “monsters” are those that live all around them as they are the first to integrate their suburban neighborhood. They are the ones forcing others to get used to seeing “people” like them.
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Dragunoiu, Dana. "Hazel Shade's Russian Sisterhood, or Is Pale Fire a Feminist Novel? In memory of Gennady Barabtarlo". Nabokov Studies 18, nr 1 (2022): 7–28. http://dx.doi.org/10.1353/nab.2022.a901977.

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Abstract: The essay traces Nabokov's representation of women from the Russian-language works in which he shows a sustained interest in women's lives to the English-language works whose plots often double as whodunnits, driven as they are by questions such as "who is she?" and "what has she done?" I argue that The Real Life of Sebastian Knight, "The Vane Sisters," Lolita, Pale Fire, and Ada dramatize what feminist commentators have identified as properties of patriarchal literary representation: the primacy of women coupled by their absence (De Lauretis), under-description (Heldt), and action delimited by the Love Story plot (Russ). Though some of Nabokov's works perpetuate these conventions, his most enduringly mysterious fiction forces readers to care and wonder about women characters who are under-described and overlooked. The essay also uses the insights of feminist scholars who have written on Lolita (Kauffman, Patnoe, Herbold) to argue that Pale Fire extends the achievements of Lolita by staging a different kind of entrapment: readers are seduced into colluding with Shade's obliteration of his daughter Hazel by focusing too much on her body and disregarding her mind. In one of Pale Fire's subtlest ironies, Shade treats his grief at his daughter's loss by foregrounding his own spiritual quest but continuing to ignore hers. I argue further that the importance of Hazel's spiritual strivings become most clear if seen through the lens of Russia's literary tradition. The second half of the essay traces important bonds of kinship that connect Hazel to Tatyana Larin, the female protagonist of Pushkin's Eugene Onegin, and Cecily von Lindenborn, the protagonist of Karolina Pavlova's only novel A Double Life (1848). Pavlova's novel, combining as it does prose and verse, offers more than a formal precedent for Pale Fire: the plot rescues Hazel from the captivity of the Love Story plot and places her in a context that is more relevant to her own concerns. The essay ends with a tribute to Gennady Barabtarlo, for whom Hazel's predicament anticipated the predicament of another beloved but disregarded daughter: Martyshka of Tarkovsky's Stalker.
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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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Pexa, Christopher. "Sovereign Flows and the Obligation of Repayment". American Literary History 35, nr 1 (1.02.2023): 246–58. http://dx.doi.org/10.1093/alh/ajac244.

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Abstract Stephen Graham Jones’s 2020 novel, The Only Good Indians, depicts the haunting and killing of four Blackfeet friends—Ricky, Lewis, Cassidy, and Gabriel—by the spirit of an elk cow called “Elk Head Woman,” who stalks the men after they have killed her and her unborn calf. Their punishment, and the unpayability of their debt to the ghost, entail asking what lies beyond a regime of rights when those rights have been judged to be always already ignorable by settler-colonial society. But Elk Head Woman’s haunting also positions violence against the land (via fracking) and its more-than-human inhabitants as a metonym for settler-colonial violence against Indigenous women and girls. This essay asks what justice may look like beyond a framework of individual rights that create a temporal enclosure, tying people and harm to moments in time and specific places, arguing that the mobility of intergenerational debt and its unpayable reparations across times and places constitute a sovereign flow—the enduring movement of an ethical–political object (here, the elk-Blackfeet law) created between sovereign peoples (human and more-than-human) that persists apart from the settler-colonial state across whose legal and geographic spaces and time the flow moves. [The Only Good Indians’] fictional dramatizing of settler-Indigenous-nonhuman relations shows a world apart from settler-colonial social justice and forms of democratic inclusion: a haunting that . . . [refuses] violence against Indigenous women and ongoing forms of capitalistic extraction on tribal lands.
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McLenachan, Thomas. "Truth is Stranger than Science Fiction: The Quest for Knowledge in Andrei Tarkovskii’s Solaris and Stalker". SLOVO, 2014. http://dx.doi.org/10.14324/111.0954-6839.023.

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Rozprawy doktorskie na temat "Stalkers (fiction)"

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Cederlöf, Henriette. "Alien Places in Late Soviet Science Fiction : The "Unexpected Encounters" of Arkady and Boris Strugatsky as Novels and Films". Doctoral thesis, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105822.

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This dissertation deals with how science fiction reflects the shift in cultural paradigms that occurred in the Soviet Union between the 1960s and the 1970s. Interest was displaced from the rational to the irrational, from a scientific-technologically oriented optimism about the future to art, religion, philosophy and metaphysics. Concomitant with this shift in interests was a shift from the future to an elsewhere or, reformulated in exclusively spatial terms, from utopia to heterotopia. The dissertation consists of an analysis of three novels by the Strugatsky brothers (Arkady, 1925-1991 and Boris 1933-2012): Inspector Glebsky’s Puzzle (Otel’ U pogibšego al’pinista, 1970), The Kid (Malyš, 1971) and Roadside Picnic (Piknik na obočine, 1972) and two films Dead Mountaineer’s Hotel (Hukkunud alpinisti hotell/ Otel’ U pogibšego al’pinista, Kromanov, 1979) and Stalker (Tarkovsky, 1980).  The three novels, allegedly treatments of the theme of contact with an extraterrestrial intelligence, were intended to be published in one volume with the title Unexpected Encounters. The films are based on two of the novels. In the novels an earlier Marxist utopia has given way to a considerably more ambiguous heterotopia, largely envisioned as versions of the West. An indication of how the authors here seem to look back towards history rather than forward towards the future is to be found in the persistent strain of literary Gothic that runs through the novels. This particular trait resurfaces in the films as well.  The films reflect how tendencies only discernable in the novels have developed throughout the decade, such as the budding Soviet consumer culture and the religious sensibilities of the artistic community.
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Książki na temat "Stalkers (fiction)"

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Edward, Gorman, i Greenberg Martin Harry 1941-, red. Stalkers. Wallington: Severn House, 1991.

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Edward, Gorman, i Greenberg Martin Harry, red. Stalkers. New York, N.Y., U.S.A: Penguin Books, 1990.

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Finch, Paul. Stalkers. Rearsby: W F Howes Ltd, 2013.

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Michael, Hawke. Night Stalkers. New York: Berkley Books, 2005.

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Ernst, J. C. Knight stalkers. Bloomington, IN: WestBow Press, 2012.

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Buchman, M. L. Wait until dark: The night stalkers. Naperville, Ill: Sourcebooks Casablanca, 2013.

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Jungersen, Christian. Undtagelsen: Roman. [Kbh.]: Gyldendal, 2004.

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Edward, Gorman, Greenberg Martin Harry i Koontz Dean R. 1945-, red. Stalkers: All new tales of terror and suspense. Arlington Hts., Ill: Dark Harvest, 1989.

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Buchman, M. L. Target lock on love: The Night Stalkers 5E. Lexington, Ky: Buchman Bookworks, 2015.

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Brand, Irene B. Yuletide Stalker. Toronto, Ontario: Steeple Hill, 2009.

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Części książek na temat "Stalkers (fiction)"

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Banaszkiewicz, Magdalena, i Jonathan Skinner. "17 Exclusion Tourism: Sci-Fi Stalkers and Subjunctive Plays in Apocalyptic Destinations from Chernobyl to Plymouth, Montserrat". W Science Fiction, Disruption and Tourism, 213–33. Multilingual Matters, 2022. http://dx.doi.org/10.21832/9781845418687-020.

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Hoel, Jon. "Pliancy and Weakness (Character Examinations)". W Stalker, 21–42. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348332.003.0002.

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This chapter is an in-depth analysis on each of the individual characters in the film Stalker and their relations with one another and the plot. This includes an elongated comparison to Dostoyevsky’s The Idiot, as well as comparisons with some western films, Raiders of the Lost Ark and The Matrix, as well as a look at some of Tarkovsky’s other films, including, notably, Solaris, his other Science-fiction film, made a couple of years previously to Stalker. The chapter also takes a look at Tarkovsky’s tendency to underwrite female characters in his films, through the lens of an uncomfortable interview he gave in 1984, on the subject.
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"Tarkovsky, Solaris, and Stalker". W Russian Science Fiction Literature and Cinema, 281–89. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618117243-013.

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DALTON, STEPHEN. "Tarkovsky, Solaris, and Stalker". W Russian Science Fiction Literature and Cinema, 281–89. Academic Studies Press, 2018. http://dx.doi.org/10.2307/j.ctv1zjg89m.15.

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Woolf, Virginia. "Kew Gardens". W Kew Gardens and Other Short Fiction. Oxford University Press, 2022. http://dx.doi.org/10.1093/owc/9780198838135.003.0002.

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From the oval shaped flower-bed there rose perhaps a hundred stalks spreading into heart shaped or tongue shaped leaves half way up and unfurling at the tip red or blue or yellow petals marked with spots of colour raised upon the surface; and from...
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Woolf, Virginia. "Kew Gardens". W The Mark on the Wall and Other Short Fiction, redaktor David Bradshaw. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199554997.003.0002.

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From the oval shaped flower–bed there rose perhaps a hundred stalks spreading into heart shaped or tongue shaped leaves halfway up and unfurling at the tip red or blue or yellow petals marked with spots of colour raised upon the surface; and from the...
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Trotter, David. "A Brief History of Paranoia". W Paranoid Modernism, 15–48. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198187554.003.0002.

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Abstract If any text can claim biblical status in the collective self-understanding of a profession, it is the current (fourth) edition of the American Psychiatric Association’s Diagnostic and Statistical Manual (1994). According to this text, the ‘essential feature’ of ‘Delusional Disorder’, or paranoia, is the presence of one or more ‘non-bizarre’ delusions which persist for at least a month. These delusions are ‘non-bizarre’ in that they are comprehensible, and arise from circumstances which could conceivably occur in real life (being stalked, or betrayed, or conspired against, or loved at a distance). ‘Apart from the direct impact of the delusions,’ the Manual continues, ‘psychosocial functioning is not markedly impaired, and behaviour is neither obviously odd nor bizarre.’ Despite important revisions of terminology and emphasis, the basic understanding of what constitutes ‘Delusional Disorder’ has not changed all that much over the last 200 years or so. Paranoia has been with us for a long time, and in more or less the same shape: a shape made palpable in textbooks, case-histories, newspaper articles, and, I shall suggest, literary fiction.
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