Literatura científica selecionada sobre o tema "Fiction, historical, New york (n.y.)"

The paper looks at the historicizing approach adopted in two recent science-fiction books: Kim Stanley Robinson’s novel New York 2140 (2017) and Nora K. Jemisin’s novella Emergency Skin (2019). In both, the authors’ present is approached from the vantage point of a speculatively posited future and looked upon as the historical past of the text. The hypothesized temporal distance is meant to challenge and recalibrate the reader’s perception of contemporary capitalism. Based on Robinson’s and Jemisin’s narratives, the paper discusses the historicity and mimetic potential of science fiction, manifested in the genre’s ability to situate the present as part of a historical process for an enhanced understanding of contemporary trends and their projected trajectories. In the two texts, the dichotomy between the envisioned future and the present-as-past is paralleled by a utopian/dystopian dialectic, wherein the reality of late capitalism is unequivocally identified as dystopian. The utopian and science-fiction perspectives combined produce the effect of cognitive estrangement, which entails a perceptual renewal with regard to capitalism, whose alleged incontestable status is challenged by the exposure of its historical mutability. The aim of the analysis is to demonstrate that historicizing contemporary capitalism within science fiction may challenge the ideological hegemony of neoliberalism, expose its dystopian features, and indicate possibilities for the transformation of a system that proclaims to have no alternatives. Such historicization may produce an epistemic shift in the reader’s perception of the contemporary socioeconomic reality, by emphasizing both its unrecognized flaws and its (r)evolutionary potential.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). 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The Moving Finger. Bomaby: Padma Publications Ltd. Boria, Cavellay. (1807). “Account of the Jains, Collected from a Priest of this Sect; at Mudgeri: Translated by Cavelly Boria, Brahmen; for Major C. Mackenzie”. Asiatick Researches: Or Transactions of the Society; Instituted In Bengal, For Enquiring Into The History And Antiquities, the Arts, Sciences, and Literature, of Asia, 9, 244-286. PDF. Retrieved from: https://archive.org/details/in.ernet.dli.2015.104510 Chamber’s Twentieth Century Dictionary [The]. (1971). Bombay et al: Allied Publishers. Print. Chatterjee, Dilip Kumar. (1989). Cousins and Sri Aurobindo: A Study in Literary Influence, Journal of South Asian Literature, 24(1), 114-123. Retrieved from: http://www.jstor.org/ stable/40873985. Chattopadhyay, Dilip Kumar. (1988). A Study of the Works of James Henry Cousins (1873-1956) in the Light of the Theosophical Movement in India and the West. Unpublished PhD dissertation. Burdwan: The University of Burdwan. PDF. 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(Eds.) (1997). The Vintage Book of Indian Writing 1947 – 1997. London: Vintage. Sampson, George. (1959 [1941]). Concise Cambridge History of English Literature [The]. Cambridge: UP. Retrieved from: https://archive.org/details/in.ernet.dli.2015.18336. Sarma, Gobinda Prasad. (1990). Nationalism in Indo-Anglian Fiction. New Delhi: Sterling. Singh, Kh. Kunjo. (2002). The Fiction of Bhabani Bhattacharya. New Delhi: Atlantic Publishers and Distributors. Spivak, Gayatri Chakravorty. (2012). How to Read a ‘Culturally Different’ Book. An Aesthetic Education in the Era of Globalization, Cambridge, Mass: Harvard University Press. Sturgeon, Mary C. (1916). Studies of Contemporary Poets, London: George G Hard & Co., Retrieved from: https://archive.org/details/in.ernet.dli.2015.95728. Thomson, W S (Ed). (1876). Anglo-Indian Prize Poems, Native and English Writers, In: Commemoration of the Visit of His Royal Highness the Prince of Wales to India. 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This article revisits Jean-Louis Comolli's “Historical Fiction: A Body Too Much” (1978) in the spirit of film-philosophy's various efforts to reassess the field's seminal texts, and it recasts Comolli's attentive analyses of film acting in terms of the original interpretations they produce. In short, I look to “A Body Too Much’ for its subtle disclosure of an underappreciated substratum of hermeneutics in so called “1970s film theory.” Comolli's study of the discord between actor and referent, I argue, is surprisingly consistent with Paul Ricoeur's pioneering contemporaneous work on metaphor and interpretation, and it leads him to understand the meaningful deployment of film actors in very particular ways. I provide an extended analysis of Martin Scorsese's Gangs of New York (2002) to further demonstrate how the distinctive utilization of actors constitutes both a redescription of the historical past and a spur to interpretation. When critically apprehended as a solution to the broadly construed problems of creating historical fictions (pragmatic filmmaking problems, but also the significant matter of making meaning), the calculated deployment of film actors can reveal a manner of thinking about the historical past – simply put, it can tell us what a film is thinking and how it regards its historical characters and events. In the final analysis, I claim, our attention to – and critical interpretation of – the embodiment of such filmic thinking permits us to grasp the imaginative form of historical knowledge on view in such films.

“Welcome to Hard Times” (1960), E.L. Doctorow’s first novel, differs from the rest of his oeuvre because it is not set in a metropolitan context like New York. References to historical events that contain an apparent “mixture” of “factual” and fictional elements that are typical of Doctorow’s oeuvre are less prominent than in his other fiction, though definitely not absent. An analysis of the pioneer setting, the town Hard Times, reveals that other settings (including metropolitan ones like New York) are not merely representations of specific contexts, but portrayals with allegorical elements. Criticism of Doctorow’s fiction does not sufficiently point out the rationale of Doctorow’s fiction in relation to his first novel: it is not just the basic level that contains the true topicality but also the underlying causal and thematic relationships. This article sets out to explore “Welcome to Hard Times” as a case in point. The objective of this article is therefore also to show that an analysis of this novel provides a valuable basis for understanding the allegorical character of his fiction. Angus Fletcher’s theoretical analysis, “Allegory: the theory of a symbolic mode” (1964), serves as a useful starting point for the analysis of the allegorical value of space and the town Hard Times as a microcosmic or symbolic society, as well as the “daemonic agents” in the town and the role of causality.

Trauma fiction was one of the most written types of literature in America in the wake of 9/11. Not a very popular genre due to the sensitive subject matter it can contain, the trauma of 9/11 contributed significantly to its resurgence, especially in New York. Jonathan Safran Foer is one of the youngest and also most talented writers in New York. Known for his daring and innovative style, his novel, Extremely Loud & Incredibly Close, is unique among other works of its genre. It deals with multiple plotlines and different historical traumas presented against the backdrop of 9/11, concerning itself primarily with the victims of the tragedy and their attempts to reconstruct their lives. Moreover, it explores the ways in which different generations can come together and help each other overcome their respective traumas, emphasizing the importance of unity and solidarity between people of all ages and mindsets.

Abstract On June 28, 1832, Nathaniel Hawthorne penned a letter to Franklin Pierce describing plans for a Northern tour through New York into Canada, a trip that he was forced to postpone due to the 1832 cholera outbreak in Montreal. Hawthorne intended to gather tales for The Story Teller on this ill-timed trip, but the trip was never made and the collection of interlinked traveling tales never published. The author of this note paper considers the cholera epidemic's impact on Hawthorne's writing life and how it reverberates through her own writing of historical fiction during the 2020 coronavirus pandemic.

AbstractAs some scholars have noted, the technical principles that modern creative writing workshops identify as “the craft of fiction” owe a great deal to Henry James and the prefaces to the New York edition of his novels, later published in a single volume as The Art of the Novel. However, James, far from setting out to help aspiring writers to develop their technical knowledge, was in fact fairly hostile to the very idea of craft, famously declaring that he “cannot imagine composition existing in a series of blocks.” The prefaces were instead intended to provide a sort of Cliff’s Notes to his own work, naming the tricks of his trade for the edification of his most dedicated readers, and it was these readers, most notably including Percy Lubbock, Joseph Warren Beach, and Caroline Gordon, who adapted James’s principles in some of the first literary handbooks used in the creative writing classroom. Though Lubbock, Beach, and Gordon borrowed significantly from James, they balanced his emphasis on aesthetics with the more accessible and egalitarian approach of earlier authors of fiction-writing handbooks, including the work of Walter Besant. This essay argues that a scholarly examination of the historical development of the discourse of the craft of writing serves not only to correct an over-emphasis on James’s influence, but also to address the equally erroneous assumption that principles of technique are eternal and universal, and thus exist apart from subject position and historical contingency.

Abstract This chapter investigates novels and films that dramatize the events of the terrorist attacks on New York and Washington, D.C., and their aftermath. In “9/11 novels,” the 2001 attacks feature prominently as a historical context (establishing a particular atmosphere or set of themes) or have a decisive function for the development of the plot, the characters, or the novel’s symbolism. Expanding on the idea of “Ground Zero Fiction,” which tends to emphasize the desire for a rootedness in historical reality, the chapter surveys texts that refuse to abandon principles of relativity, pluralism, and self-reflexiveness in the wake of 9/11. As the twenty-first century progressed, 9/11 fiction moved away from the focus on immediacy and victimhood and opened itself to more differentiated negotiations of global political connections, otherness, and ethics, while increasingly questioning the discourse of exceptionalism.

Abstract Readers of Edith Wharton have for some years recognized her appreciation of—and affinity with—Darwin and Darwinism, which was a major part of her self-schooling in the sciences, especially between 1906 and 1908. Accordingly, in The Custom of the Country, Ralph Marvell’s analysis of social dislocation employs a Darwinian heuristic to present a precis of the plot dynamic. A son of Old New York and an important figure in the novel, Ralph declares traditional families like his own to be a species endangered by the late nineteenth-century nouveau riche “invading race,” by which Wharton means a line of descent, not a genetic category. As a young aspirant poet-critic, who is newly appreciative of his heritage, Ralph understands his family and their cohorts to be casualties of a recent historical-evolutionary rupture. The new modern, invasive “race” of plutocrats, with their headquarters on Wall Street and their domiciles on Fifth Avenue, are fast conquering an enervated Old New York comprised of the ladies and gentlemen of Washington Square. Ralph assesses the invaders’ “modern tendencies” as a deplorable “chaos of indiscriminate appetites” from the monetary to the gustatory, these over and against the moderate and temperate “coherent and respectable” ideals of his family’s waning Old New York (N, 669). More than social change or a reversible decline in mores and manners, this phenomenon is a Darwinian process of encroachment and extinction. As a record of the contest between base and higher morality, The Custom of the Country is arguably Wharton’s most thoroughgoing socially Darwinian narrative.

Abstract Walt Whitman and his writings were shaped by the architecture, art, and artists of his time. Some of the most exciting insights into Whitman have arisen from recent analyses his connectedness to international perspectives in the fine arts. During the 1990s, scholars have discerned and published far more about the interrelationships between Whitman and the visual arts than they had in the first hundred years after his death. During his years as a journalist in New York City, Whitman was directly involved in the arts: he attended countless operatic, the atrical, and musical performances, frequented art galleries, befriended many artists, understood the global perspectives they represented, and critiqued them in his newspaper columns. During those years, Whitman was immersed in the form and content of colloquialisms, popular fiction, and mass media used in the service of democracy. During his late years, artists came to Camden, New Jersey, to pay homage to the aging bard and often returned to create a portrait of him. Whitman’s writings continue to authenticate creative urges upwelling in writers and artists and to give them courage to break free from whatever fetters bind their originality. His faith in America and American art is as important today as when he first expressed it.

The final chapter moves to the future-oriented narratives of American science fiction, broadly conceived as a mode of representation committed to the imagination of alternative lifeworlds. The chapter opens with the Roman fragments of Michael Crichton’s Westworld and the remains of New York City in late nineteenth-century dystopian fiction in order to outline the paradoxical relationship between historical representation and the imagination of an imperial (or decolonized) future. The chapter then moves to its three key writers, Isaac Asimov, Edgar Rice Burroughs, and Samuel R. Delany. While each of them offer quite differently fantastical visions of antiquity’s place in the logics and aesthetics of the future, they all find connections through their employment of the ancient figure of the “barbarian” and its role in imperial philosophies and politics.

Inspired by Jesús Colón's A Puerto Rican in New York and Other Sketches, the introduction highlights the role that history, memoir, and autobiographical fiction invariably play in most empirically sound and theoretically sophisticated Latinx humanistic social sciences. The open-endedness of Colón’s “sketches”—their critical pedagogical aspect and how they lend themselves to pointed yet fluid discussions—drives our approach to the humanistic social sciences in Latinx/a/o studies in the form of critical diálogos. For Colón, sketches were intended to bequeath a historical record and tradition and to provide a tool for critical consciousness-raising. For us, the editors, Colón’s deployment of the sketch serves as a template for how to approach our proposition of critical diálogos in this anthology. Our central concern in Critical Dialogues is not merely to document or do a genealogy of Latinx/a/o studies as an academic field, but to stretch its points of reference and contributions. We continue Colón’s tradition of studying Latinx/a/o populations beyond an exclusive US framework and at the intersection of a Latin American, Caribbean, US empire, global, international, and transnational optics. What we articulate in this volume is an approach to Latinx/a/o Studies that actively and continuously works towards a dialogue-based, multidirectional analysis.

Reconstrucción virtual de ambientes urbanos a partir de fotografías históricas a través de Image Based Animations (IBA). La Plaza de la Virgen de Valencia alrededor de 1870. Jose Luis Cabanes Ginés¹, Federico Iborra Bernad², Carlos Bonafé Cervera3 ¹Departamento de Expresión Gráfica Arquitectónica. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia. 2Departamento de Composición Arquitectónica. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia 3Departamento de Ing. Cartográf. Geodesia y Fotogramtría. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia E-mail: jlcabane@ega.upv.es, f_iborra@yahoo.es, carboce1@topo.upv.es Keywords (3-5): virtual reconstruction, historical urban environment, image based animations Conference topics and scale: City transformations / Tools of analysis in urban morphology The recreation of the historical environment of emblematic urban spaces in our cities through interactive technologies, allows to extend their knowledge among the interested users while contributing to its assessment. When the documentary bases are photographs it is possible to carefully model the recorded elements using photogrammetry techniques based on 3D primitives, so that by means of an immersive navigation limited to certain points of view, an appearance of acceptable tridimensionality is obtained, where only isolated images of dispersed frames are available. The virtual recreation can be completed increasing its realistic appearance through its edition with animations of objects (for example, carriages) and characters, texts, musical setting, etc. The results can be presented in formats such as video or navigation through virtual reality helmets. From a selection of the first historical photographs of the Plaza de la Virgen, that we have obtained searching in several documentary sources, our multidisciplinary team is interested in a reliable, realistic and pleasant presentation of the urban environment of one of the most representative places in the city of Valencia, whose spatial configuration has changed significantly over the years. References (100 words) Braun, C., Kolbe, T. H., Lang, F., Schickler, W., Steinhage, V., Cremers, A. B., Förstner, W., Plümer, L., 1995. Models for photogrammetric building reconstruction. Computers & Graphics, Volume 19, Issue 1, pp. 109-118. Debevec, P., Taylor, C. J. and Malik, J., 1996. Modeling and rendering architecture from photographs: A hybrid geometry and image-based approach. SIGGRAPH’96, pp. 11–20. De Mesa, A., Regot, J., Nuñez, M. A. and Buill, F., (2009). Métodos y procesos para el levantamiento de reconstrucción tridimensional gráfica de elementos del patrimonio cultural. La iglesia de Sant Sever de Barcelona. Revista EGA, nº 14, pp. 82-89. Drap, P., Grussenmeyer, P. and Gaillard, G., 2001. Simple Photogrammetric Methods with ARPENTEUR: 3-D Plotting and Orthoimage generation. XVIII International Symposium CIPA 2001, Potsdam (Germany). International Archives of Photogrammetry, Remote Sensing and Spatial Information Sciences, nº 34 (Part 5/C7), pp. 47-54. El-Hakim, S., Beraldin, J. and Lapointe, A., 2002. Towards Automatic Modeling of Monuments and Towers. IEEE Proceedings of the International Symposium on 3D Data Processing Visualization and Transmission, 3DPVT 2002, Padua, Italy, pp. 526-531. Proyecto Barcelona Darrera Mirada, http://darreramirada.ajuntament.barcelona.cat/#historia/8/1 The Old New York, http://vimeo.com/160024074, https://vimeo.com/162572088

Vicente Iborra Pallarés¹, Francisco Zaragoza Saura2 ¹Building Sciences and Urbanism Department. University of Alicante. Alicante. Politécnica IV, módulo III, 1ª planta. Carretera de San Vicente del Raspeig s/n. 03690 San Vicente del Raspeig ²Concejalía de Urbanismo, Ayuntamiento de Altea. Plaza José María Planelles, 1. 03590 Altea E-mail: vicente.iborra@ua.es, zaragozasaura@gmail.com Keywords (3-5): Public space, historical urban evolution, tourism phenomena, urbanistic project, educational experience Conference topics and scale: City transformations The town of Altea (Alicante, Spain) has an important urban center that has historically been characterized by two contrasting situations: on one hand, the settlements located on the seaside elevations (Bellaguarda and the Renaissance Bastion) linked to the agricultural uses of the fertile valleys of the rivers Algar and els Arcs, and on the other hand the coastal developments, originally fishery, but nowadays with touristic uses on the maritime front. All these elements configure an urban nucleus that, due to its urban, architectural and landscape qualities, gives rise to one of the main tourist attractions of the region. However, the area described nowadays presents an important problem related to the use and habitability of public space, which is invaded by the presence of the private vehicle, even along the seaside, due to its touristic relevance. This article presents the results of an academic experience developed to study different possibilities of urban transformations for the municipality of Altea, taking as a project site the urban vacuum still conserved between the two situations previously described: the historical areas on the coastal elevations (Dalt) and new urban developments parallel to the seaside (Baix). This academic activity, performed by nearly 50 students from the University of Alicante, was developed in the context of the design course Urbanism 5 during the academic year 2015-16, thanks to the agreement signed between the Municipality of Altea and the University of Alicante. References (100 words) Busquets, J. and Correa, F. (2006) Cities X lines: a new lens for the Urbanistic Project (Harvard University Graduate School of Design, Cambridge). Europan Europe (2016) Project and processes (http://www.europan-europe.eu/en/project-and-processes/) accessed January-May 2016. Fernández Per, A. and Mozas, J. (2010) Strategy public (a+t ediciones, Vitoria-Gasteiz). Gehl, J. (2006) La humanización del espacio urbano: la vida social entre los edificios (Reverté, Barcelona). Koolhaas, R. (1995) S, M, L, XL (The Monacelli Press, New York). Lynch, K. (1960) The Image of the City (The Massachusetts Institute of Technology Press, Cambridge). Rebois, D. (ed.) (2014) Europan 12 results. The adaptable city /1 (Europan Europe, Paris).