Literatura científica selecionada sobre o tema "Fictional turn"
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Artigos de revistas sobre o assunto "Fictional turn"
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Chemodurova, Zinaida. "The Affective Turn in Metamodernist Fiction and “New Sincerity”". Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije 23, n.º 2 (26 de junho de 2024): 84–97. http://dx.doi.org/10.15688/jvolsu2.2024.2.7.
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The aim of the article is to analyze pragmatic strategies and mechanisms to enhance narrative empathy, the key notion of metamodernist fiction that distinguishes it from postmodernist and modernist literary texts. The article postulates foregrounding of emotivity markers in metamodernist texts as a linguistic manifestation of the cultural logic of “new sincerity” in the contemporary fiction that is characterized by the lack of an explicit ludic modality of postmodernist fiction and by stressing means of producing emotional resonance on the part of the reader and their active perspective-taking. The article makes an original contribution to cognitive stylistics, multimodal studies and narratology by hypothesizing polyphony of narrative “voices”, second-person narrative and visual foregrounding as effective pragmalinguistic tools of triggering emotive and cognitive empathy that increases reader’s immersion in metamodernist fictional worlds. Using the novels by M. Porter and J. Egan, the short stories by J.S. Foer and D. Eggers as its case studies, the article proves the relevance of viewing the “new sincerity” concept as a driving force behind the authorial empathy towards fictional characters, which enhances emotionogenic potential of metamodernist fiction and contributes to reader’s engagement with modeled emotive situations. The findings of the research testify to the importance of further research into “new sincerity” and potential mechanisms of inducing reader’s empathy which is justly considered a powerful instrument for promoting social interaction, helping readers of all ages to inhibit aggression and develop understanding of others’ motives, emotions and desires.
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Donnarieix, Anne-Sophie. "Les chamanes contemporains – figures d’instabilité". Quêtes littéraires, n.º 6 (30 de dezembro de 2016): 187–96. http://dx.doi.org/10.31743/ql.229.
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Antoine Volodine and Christian Garcin both make a distinctive use of shamanism in fictional novels. By multiplying shaman characters and intertwining the shamanistic principles and the narrative, they develop a poetic of instability noticeable through various hybridization processes notably strengthened by the intrusion of supernatural elements. The analysis of three motives in which this game of unstable balance is particularly mirrored – identity, History and fiction – shall turn our attention to the role of shamanism as a vector of fictional dynamism.
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Dadlez, Eva. "Ideal Presence: How Kames Solved the Problem of Fiction and Emotion". Journal of Scottish Philosophy 9, n.º 1 (março de 2011): 115–33. http://dx.doi.org/10.3366/jsp.2011.0009.
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The problem of fiction and emotion is the problem of how we can be moved by the contemplation of fictional events and the plight of fictional characters when we know that the former have not occurred and the latter do not exist. I will give a general sketch of the philosophical treatment of the issue in the present day, and then turn to the eighteenth century for a solution as effective as the best that are presently on offer. The solution is to be found in the account of ideal presence given by Henry Home, Lord Kames.
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Ben-Ari, Nitsa, e Shaul Levin. "Translators and (their) authors in the fictional turn". Beyond transfiction 11, n.º 3 (7 de novembro de 2016): 339–43. http://dx.doi.org/10.1075/tis.11.3.01ben.
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Chamberlain, Stephen. "Truth, Fiction and Narrative Understanding". International Philosophical Quarterly 60, n.º 2 (2020): 201–19. http://dx.doi.org/10.5840/ipq2020602153.
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This paper defends the cognitive value of literary fiction by showing how Paul Ricoeur’s account of narrative understanding emphasizes the productive and creative elements of fictional discourse and defends its referential capacity insofar as fiction reshapes reality according to some universal aspect. Central to this analysis is Ricoeur’s retrieval of Aristotelian mimesis and mythos and their convergence in the notion of emplotment. This paper also supplements and specifies further Ricoeur’s account by retrieving an Aristotelian concept disregarded by Riceour, namely, synesis (understanding). Although Ricoeur connects narrative understanding to the intelligibility of praxis and in turn phronêsis, as opposed to theoretical knowledge (theōria or epistēmē), he overlooks Aristotle’s discussion of synesis. This paper then clarifies how the fictional truth of narrative understanding remains related to, and yet distinct from, both theoretical discourse (science) and praxis (politics).
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Fargione, Daniela. "The Aquatic Turn in Afrofuturism". Le Simplegadi 19, n.º 21 (novembro de 2021): 55–66. http://dx.doi.org/10.17456/simple-173.
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The recent efflorescence of fictional writings and artistic works examined under the rubrics of Blue Humanities (Mentz 2009), Critical Ocean Studies (DeLoughrey 2019), Hydro-Criticism (Winkiel 2019), or New Thalassology (Horden and Purcell 2006), testify a recent cultural shift from the land to the sea. In this article, the hydrosphere is analysed in two female Afrofuturist works – Nnedi Okorafor’s Lagoon (2014) and Wanuri Kahiu’s short film Pumzi (2010) – to address the global capitalist order and to imagine an aquafuturist multispecies aesthetics that springs from the countermemory of the Middle Passage and its undersea myths
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Fan, Christopher T. "Semiperipherality and the Taiwanese American Novel". College Literature 50, n.º 2-3 (março de 2023): 212–36. http://dx.doi.org/10.1353/lit.2023.a902217.
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Abstract: While Asian American authors have certainly produced narratives of return to their or their predecessors' countries of origin, these narratives have, until recently, predominantly appeared in memoir and autobiography. Since the turn of the millennium there's been a significant uptick in the fictional portrayal of return. In stark contrast to the spiritual and filial returns in memoir, these fictional portrayals tend not to sentimentalize return. The protagonists who return more often follow economic or professional trajectories. In novels like Tao Lin's Taipei (2013), Ling Ma's Severance (2018), Han Ong's The Disinherited (2004), Ruth Ozeki's A Tale for the Time Being (2013), Brian Ascalon Roley's American Son (2001), and Lucy Tan's What We Were Promised (2018), return to Asia intensifies rather than vitiates material structures of alienation. What we find is that they tend to undermine an emerging Twenty-first century racial form that welds the Asian to neoliberal flexibility, even if they often forego critique. This article will describe contemporary Asian/American return fictions in contrast to earlier manifestations of the genre and explore their problematic relationship to categories like Asian American and Anglophone Asian fiction.
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Pietrzak, Przemysław. "Points of View and the Daily Press at the Turn of the 19th and 20th Centuries". Prace Filologiczne. Literaturoznawstwo, n.º 8(11) cz.1 (28 de junho de 2019): 69–84. http://dx.doi.org/10.32798/pflit.55.
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The following article concerns the issue of point of view in Polish daily newspapers at the end of the 19th century. The daily is considered here as a coherent and cogent literary work based on fictional as well as non-fictional genres and their specific layout. The author proves that what makes the press characteristic in terms of points of view is not so much the introduction of a new, individual voice but rather the introduction of a collective perspective in several variants. Literary fictional genres serve as an instrument of the counterpoint in that they provide an individual position, usually one that is opposed to what one can read in the feature sections.
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Nikolajeva, Maria. "Recent Trends in Children's Literature Research: Return to the Body". International Research in Children's Literature 9, n.º 2 (dezembro de 2016): 132–45. http://dx.doi.org/10.3366/ircl.2016.0198.
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Twenty-first-century children's literature research has witnessed a material turn in strong response to the 1990s perception of childhood and the fictional child as social constructions. Cultural theories have generated fruitful approaches to children's fiction through the lenses of gender, class, race and sexual orientation, and psychoanalytically oriented theories have explored ways of representing childhood as a projection of (adult) interiority, but the physical existence of children as represented in their fictional worlds has been obscured by constructed social and psychological hierarchies. Recent directions in literary studies, such as ecocriticism, posthumanism, disability studies and cognitive criticism, are refocusing scholarly attention on the physicality of children's bodies and the environment. This trend does not signal a return to essentialism but reflects the complexity, plurality and ambiguity of our understanding of childhood and its representation in fiction for young audiences. This article examines some current trends in international children's literature research with a particular focus on materiality.
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Domanskii, Y. "The reality of fiction in a literary world: on an excerpt from Stanisław Lem’s Solaris". Slovo.ru: Baltic accent 11, n.º 1 (2020): 101–7. http://dx.doi.org/10.5922/2225-5346-2020-1-6.
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Using an excerpt from Stanisław Lem’s Solaris, this article explores the idea that, in a literary text, a fictional world and the world of physical reality may interact to form such a reality that can paradoxically turn out to be more real than what we believe to be the actual reality. It is also shown that the fictional world realized in a literary text may bring the reader to certain conclusions about the world in which he or she lives. Thus, even if literature is incapable of affecting reality, it can change the way the latter is perceived. A fictional world is not just a reality — it is a reality of a higher order.
Teses / dissertações sobre o assunto "Fictional turn"
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Loiez, Thibaut. "La traduction chez David Mitchell (1999-2017) : pratiques et représentations". Electronic Thesis or Diss., Université de Lille (2022-....), 2024. http://www.theses.fr/2024ULILH055.
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Depuis son premier roman Ghostwritten en 1999, jusqu'à sa plus récente parution (Utopia Avenue en 2020), l'auteur britannique contemporain David Mitchell tente de bâtir un univers de fiction unique et interconnecté qui ne cesse de s'accroitre à chaque publication. Cette volonté de continuité s'observe également dans la cohérence de ses thématiques, parmi lesquelles figure en bonne place la question de la communication et des langues. Ce leitmotiv récurrent nous a poussé à nous interroger sur la place qu'occupe la notion de traduction dans son œuvre globale. Cette thèse se propose d'étudier trois facettes de l'écrivain en rapport avec la traduction : l'auteur mettant en scène la traduction dans sa fiction, l'auteur traduisant, et l'auteur traduit. Chacun de ces trois grands axes met en lumière le caractère unique de l'artiste quant à l'acte de traduire. Ses romans ressuscitent ainsi les interprètes historiques de la tradition japonaise qu'étaient les Oranda tsūji au XVIIème siècle, présentent des immortels polyglottes ou des traducteurs amateurs, autant de figures rarement explorées dans le domaine du fictional turn of the translator. La propre expérience de traducteur professionnel de David Mitchell (aidé par son épouse Keiko Yoshida) est tout aussi particulière, par son choix de faire partager au monde sa version anglaise de The Reason I Jump, témoignage sous forme livresque d'un jeune adolescent autiste non-verbal nommé Naoki Higashida. La genèse complexe de l'œuvre originale ainsi que la motivation expliquée par un amour filial en font un objet d'étude fascinant, autant dans le domaine de l'éthique que de la neurologie. Sera également explorée dans cette partie une autre traduction moins connue de David Mitchell mais néanmoins originale : sa participation au projet collaboratif international Multiples, un jeu grandeur nature de traduction-relais. La dernière partie de cette thèse se penchera sur la manière dont Manuel Berri, traducteur quasi-attitré de David Mitchell depuis le début de sa carrière, a su relever les défis de sa prose qui s'avère retorse. Nous analyserons comment le traducteur a réussi à surmonter ces obstacles que sont les références culturelles implicites, les néologismes ou l'oralité de l'anglais non-standard, qu'il ait recours à la note de traducteur (dont nous essayons de prouver la légitimité), ou bien plus souvent grâce à sa créativité pour transmettre en langue française toute la versatilité de notre auteur. Cette thèse se termine par un entretien exclusif avec David Mitchell en personne, où ce dernier se livre sur sa vision de la traduction et nous confie ses futurs projets en relation avec cette dernière, preuve d'une obsession qui n'a pas fini de hanter sa production littéraireFrom his first novel Ghostwritten in 1999 to his most recent (Utopia Avenue in 2020), contemporary British author David Mitchell has tried to build a unique and interconnected world of fiction which keeps growing with each new publication. This desire for continuity can also be seen in the coherence of his themes, among which the question of communication and languages stands prominently. This recurring leitmotif prompted us to examine the notion of translation throughout his work. This thesis will examine three aspects of the writer in relation to translation: the translator characters in his fiction, his experience as a translator, and the translation of his works. Each of these parts highlights the uniqueness of this artist in regards to translation. His novels resurrect the historical interpreters of the Japanese tradition, the Oranda tsujis of the 17th century, and showcase such figures as polyglot immortals and amateur translators, new archetypes which have not or rarely been explored in the field of the fictional turn of the translator. David Mitchell's own experience as a professional translator is just as special, in his choice to share with the world (and with the help of his wife Keiko Yoshida) an English version of The Reason I Jump, the memoir of a young non-verbal autistic teenager called Naoki Higashida. The complex genesis of the original work, as well as the motivations - namely filial love - behind his translation, make it a fascinating object of study, as much in the field of ethics as neurology. This section will also explore another of David Mitchell's lesser-known but nonetheless original translations: his participation in the collaborative project Multiples, an international exercise in relay translation. The final part of this PhD thesis will explore the ways in which Manuel Berri — David Mitchell's unofficial assigned translator since the start of his career — has risen to the challenge of his surprisingly tricky prose. We will analyse how he managed to overcome such obstacles as implicit cultural references, neologisms and the orality of non-standard English, whether by using translator's notes (which we are trying to legitimise) or, more often, by using his creativity to convey all the versatility of our author in the French language. This thesis will conclude with an exclusive interview of David Mitchell himself, in which he offers us his views on translation and reveal some of his future translation-related projects, proving once again how much this obsession keeps haunting his literary output
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Fleming, Stephanie. "No U-Turn". NSUWorks, 2010. http://nsuworks.nova.edu/writing_etd/18.
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Powers, Donald. "Emigration, literary celebrity, and the autobiographical turn in J.M. Coetzee's later fiction". Doctoral thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/14708.
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Includes bibliographical references.Whereas commentary on autobiography in Coetzee tends to focus on the dynamics of secular confession and the idea of self-writing as 'autre-biography,' this thesis, taking the experience of emigration and literary celebrity as thematic pivots, argues that the protagonists of Coetzee's later fiction (Youth through Summertime) occasion a form of authorial self-disclosure that is not an end in itself but, with a nominal anchorage on Coetzee himself, a means of localising questions about literary genre, political complicity, the relation between author and character, the intersection of personal and collective history, and the social responsibility of the acclaimed writer. It is argued that the slippage of focus from the authorial personas in these fictions to the questions and critical voices they provoke nonetheless conspires to reaffirm the authority of the name and literary oeuvre' Coetzee. 'The thesis begins by examining the link in Youth between the protagonist's crisis of ethnic and literary identity and Coetzee's narrative strategy of subjective displacement (Chapter 1). It is shown that the refractive zone of questions in that fiction constitutes the self-qualifying reflex that becomes increasingly pronounced in the authorial surrogates and fictions that follow. Coetzee's representation of the acclaimed writer as a doubting, fallible, unheroic figure becomes in the case of Elizabeth Costello a rejection of the idea of the writer as a spokesperson for a group or cause and instead an opening for the pressures and responsibilities of living among others to be embodied and negotiated (Chapter 2). It is argued that Coetzee's Nobel Lecture provides a further example of this reserve about the reach of the writer's authority in the public realm: the deferral of authority in this text highlights by indirection an inconsistency in the Swedish Academy's invitation to Coetzee to speak for his work on the occasion of an award that celebrates its universal interpretability, its resistance to authorial meta-interpretation (Chapter 3). It is shown that in Slow Man, where the familiar metafictional interplay between the one who writes and the one who is written is framed on an emigrant history that is implicitly Coetzee's, the characters' contest of interpretation over photographs highlights the instability of the historical record - a point that holds for the text of Coetzee's personal history (Chapter 4). Emphasis on the nominal alignment of the author Coetzee and his authorial surrogate in Diary of a Bad Year governs a consideration of how the author's name- his proper name and reputation - focuses the condition of complicity with others as a reader and citizen; the question of whether the character JC speaks for Coetzee is revealed to be secondary to what it means to be held accountable for actions committed in the name of a group to which one belongs or set of interests to which one subscribes (Chapter 5). The thesis tracks the qualified textualisation of Coetzee 's authorial personas and history to Summertime, where' John Coetzee' is written out of an entanglement of acts of emigration and recollection in voices inflected with other histories than his own (Chapter 6).
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Pretorius, Michelle Louisa. "WHERE THE DEVIL TURNS". Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1540315346461346.
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Shagalova, Marianna. "On the French novel at the turn of the century : the pain of existence in a world deprived of meaning /". view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1196396521&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2006.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 204-210). Also available for download via the World Wide Web; free to University of Oregon users.
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Gough, Noel Patrick, e noelg@deakin edu au. "Intertextual turns in curriculum inquiry: fictions, diffractions and deconstructions". Deakin University. School of Social and Cultural Studies in Education, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20040517.163306.
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This thesis is based primarily on work published in academic refereed journals between 1994 and 2003. Taken as a whole, the thesis explores and enacts an evolving methodology for curriculum inquiry which foregrounds the generativity of fiction in reading, writing and representing curriculum problems and issues. This methodology is informed by the narrative and textual 'turns' in the humanities and social sciences - especially poststructuralist and deconstructive approaches to literary and cultural criticism - and is performed as a series of narrative experiments and 'intertextual turns'. Narrative theory suggests that we can think of all discourse as taking the form of a story, and poststructuralist theorising invites us to think of all discourse as taking the form of a text; this thesis argues that intertextual and deconstructive readings of the stories and texts that constitute curriculum work can produce new meanings and understandings. The thesis places particular emphasis on the uses of fiction and fictional modes of representation in curriculum inquiry and suggests that our purposes might sometimes be better served by (re)presenting the texts we produce as deliberate fictions rather than as 'factual' stories. The thesis also demonstrates that some modes and genres of fiction can help us to move our research efforts beyond 'reflection' (an optical metaphor for displacing an image) by producing texts that 'diffract' the normative storylines of curriculum inquiry (diffraction is an optical metaphor for transformation). The thesis begins with an introduction that situates (autobiographically and historically) the narrative experiments and intertextual turns performed in the thesis as both advancements in, and transgressions of, deliberative and critical reconceptualist curriculum theorising. Several of the chapters that follow examine textual continuities and discontinuities between the various objects and methods of curriculum inquiry and particular fictional genres (such as crime stories and science fiction) and/or particular fictional works (including Bram Stoker's Dracula, J.M. Coetzee's Disgrace, and Ursula Le Guin's The Telling). Other chapters demonstrate how intertextual and deconstructive reading strategies can inform inquiries focused on specific subject matters (with particular reference to environmental education) and illuminate contemporary issues and debates in curriculum (especially the internationalisation and globalisation of curriculum work). The thesis concludes with suggestions for further refinement of methodologies that privilege narrative and fiction in curriculum inquiry.
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Adleman, Daniel. "Occupational violence and the crisis in white masculinity in turn-of-the-millennium American fiction". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58758.
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My dissertation examines white masculine anxieties compelled by death and violence in Don DeLillo’s White Noise (1985), Bret Easton Ellis’ American Psycho (1991), Chuck Palahniuk’s Fight Club (1996), and Philip Roth’s American Pastoral (1997). A close reading of the four novels in tandem reveals important dynamics of a subgenre of American masculinist fiction in a period of rapid technological change. The novels represent the travails of white male protagonists whose "occupational spheres," comprising jobs, domestic spaces and recreational pursuits, are meant to protect them from undesirable threats and the dread of death. I argue that these protagonists, who are immersed in their respective occupational spheres, do not comprehend the complex violence in which their occupations implicate them, nor do they appreciate the impossibility of insulating their “interior” simulated habitats from the supposedly toxic “outside” worlds that surround them. In the first chapter, I analyze Don DeLillo’s White Noise, which I claim inaugurates the subgenre of American fiction to which all four novels belong, and I conclude that the protagonist, Jack Gladney, is caught up in a cycle of "re-mediation." His efforts to remedy his ills are only remediated into a medial milieu that further undermines his agency. In the second chapter, I examine American Psycho and track Patrick Bateman’s occupational sphere, which manifests the classed, raced, and sexualized systemic violence of Wall Street finance. The third chapter on Fight Club explores the anonymous narrator’s violent occupation as an actuarial risk analyst for a major automotive manufacturer. The last chapter, on American Pastoral, analyzes the insidious violence of the protagonist Seymour Levov’s occupation as a glove-manufacturing entrepreneur and seeming-apogee of the Jewish American dream of white assimilation. This dissertation project is partly an intervention in DeLillo, Easton Ellis, Palahniuk, and Roth criticism, much of which is still atavistically stuck in a pre-digital moment. By and large, the existing criticism, I contend, does not pay enough attention to the densely-mediated environments inhabited by the novels’ protagonists. My engagement with these novels draws upon rhetorical analysis, genre theory, psychoanalysis, critical race theory, gender studies, and new media studies.Arts, Faculty of
Graduate
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Guzman-Medrano, Gael. "Post-Revolutionary Post-Modernism: Central American Detective Fiction by the Turn of the 21st Century". FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/917.
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Contemporary Central American fiction has become a vital project of revision of the tragic events and the social conditions in the recent history of the countries from which they emerge. The literary projects of Sergio Ramirez (Nicaragua), Dante Liano (Guatemala), Horacio Castellanos Moya (El Salvador), and Ramon Fonseca Mora (Panama), are representative of the latest trends in Central American narrative. These trends conform to a new literary paradigm that consists of an amalgam of styles and discourses, which combine the testimonial, the historical, and the political with the mystery and suspense of noir thrillers. Contemporary Central American noir narrative depicts the persistent war against social injustice, violence, criminal activities, as well as the new technological advances and economic challenges of the post-war neo-liberal order that still prevails throughout the region.
Drawing on postmodernism theory proposed by Ihab Hassan, Linda Hutcheon and Brian MacHale, I argued that the new Central American literary paradigm exemplified by Sergio Ramirez’s El cielo llora por mí, Dante Liano’s El hombre de Montserrat, Horacio Castellanos Moya’s El arma en el hombre and La diabla en el espejo, and Ramon Fonseca Mora’s El desenterrador, are highly structured novels that display the characteristic marks of postmodern cultural expression through their ambivalence, which results from the coexistence of multiple styles and conflicting ideologies and narrative trends. The novels analyzed in this dissertation make use of a noir sensitivity in which corruption, decay and disillusionment are at their core to portray the events that shaped the modern history of the countries from which they emerge. The revolutionary armed struggle, the state of terror imposed by military regimes and the fight against drug trafficking and organized crime, are among the major themes of these contemporary works of fiction, which I have categorized as perfect examples of the post-revolutionary post-modernism Central American detective fiction at the turn of the 21st century.
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Zecchinato, Daniele <1987>. "The Gothic turn of psychiatry in Patrick McGrath's fiction: an analysis of Asylum and Trauma". Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9675.
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L'elaborato presenterà un'analisi di due romanzi dell'autore Patrick McGrath, Asylum e Trauma. La tesi si focalizzerà sulle tematiche gotiche care al romanziere, prima tra tutte la centralità nel suo lavoro della psichiatria, e la minuziosa attenzione ai processi mentali dei suoi personaggi, trattati in modo pressoché clinico. L'elaborato approfondirà il modo in cui queste tematiche si inseriscono nel genere gotico in cui McGrath è spesso inserito, e tratterà altri temi cari all'autore come la trasgressione, il rapporto tra scrittura, arte e follia, i ruoli di genere e l'importanza degli spazi fisici nell'economia dei romanzi.
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Kharpertian, Theodore D. ""A hand to turn the time"; : Menippean satire and the postmodernist American fiction of Thomas Pynchon". Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72750.
Texto completo da fonteLivros sobre o assunto "Fictional turn"
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Henry, James. The Turn of The Screw and Other Short Novels. New York: Penguin Group USA, Inc., 2008.
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Henry, James. The turn of the screw. Basingstoke: Macmillan, 1988.
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Henry, James. The turn of the screw. New Brunswick, N.J: Transaction, 1996.
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Henry, James. The turn of the screw. New Brunswick, N.J: Transaction, 1997.
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Henry, James. The turn of the screw. Boston: Bedford Books of St. Martin's Press, 1995.
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Henry, James. The turn of the screw. Thorndike, Me: G.K. Hall, 1995.
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Henry, James. The turn of the screw. 2a ed. Boston: Bedford/St. Martin's, 2004.
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Henry, James. The Turn of the Screw. Ottawa: eBooksLib, 2005.
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Henry, James. The turn of the screw. London: J.M. Dent, 1990.
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Henry, James. The Turn of the Screw. New York: Dover Publications, 1991.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Fictional turn"
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Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga". In Filosofie jako životní cesta, 130–45. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-8.
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The Study Prometheus, for example loosely follows up the central theme of Hans Blumenberg’s theory of myth and mythology, the character of Prometheus and Promethean conceptions in scientific as well as imaginative literature (poetry and drama). The aim is not an elaborate reflection of all the variations on Promethean themes that were summarized in Blumenberg’s epochal book Work on Myth (1979). The author rather selects some themes from the works on the myth about Prometheus in Classical Greek literature (Hesiod, Aeschylus) and, at the turn of modernism, in German movement Sturm und Drang (Goethe). Most attention is paid to a fictional figure known as actio per distans (action at distance, with keeping a distance) and its variations from the distance between people and gods through the distance between people to the distance of an ageing poet from spirit of the age (Zeitgeist), to which he no longer belongs.
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Farmer, Paul. "10. ‘How much easier it is to honour the dead than to value the living’—The Tale of Trevithick’s Tower". In After the Miners’ Strike, 119–34. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0329.12.
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A key concept for the new show is ‘levels of pretence’—the principle derived from McGrath’s observations on the sophistication of popular engagement with issues of identity in the performance of pantomime. In One & All!, for example, who were we being when we were narrating? We could push the new show up one ‘layer of pretence’ and remove any implied authority figures: rather than ask audiences to take anyone on trust, we could insist they distrusted everybody. So we formulate the new show not as a play, but as a public meeting. In the real world the plan is afoot to take over Truro City Hall and turn it into a prestigious theatre. Our public meeting is part of a fictional campaign to demolish the City Hall to build the tower Trevithick designed in 1833 to commemorate the passing of the Reform Laws. Having pushed the execution of the play away from ourselves and into movement between the onion skins of ‘layers of pretence’, we use three bizarre contemporary characters to implicitly critique contemporary society and government. The Tale of Trevithick’s Tower premieres on Camborne Trevithick Day 1986 and tours Cornwall.
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Robinson, Alan. "The Historical Turn in Fiction". In Narrating the Past, 25–53. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230316744_2.
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Keen, Suzanne. "The Historical Turn in British Fiction". In A Concise Companion to Contemporary British Fiction, 167–87. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470757673.ch8.
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James, Henry. "The Turn of the Screw (1898)". In Reading Fiction: Opening the Text, 73–78. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-1-137-08108-7_11.
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Hampson, Robert. "The Inward Turn: Wallace and Clifford". In Cross-Cultural Encounters in Joseph Conrad’s Malay Fiction, 72–98. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230598003_4.
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Liao, Pei-chen. "Beyond and Before 9/11: A Transnational and Historical Turn". In Post-9/11 Historical Fiction and Alternate History Fiction, 1–19. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52492-0_1.
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Höglund, Johan. "Fossil Fictions". In The American Climate Emergency Narrative, 53–78. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-60645-8_3.
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AbstractThis chapter explores twentieth-century fiction that registers how the extractive relationship between land and people described in Chapter 1 developed during the twentieth century. The first part of the chapter focuses on the specific emergencies that were connected to the turn to coal in the nineteenth- and early twentieth-century US, and the final section discusses how the militarization of oil energies in the US gave rise to an increasingly self-assured, but also progressively anxious, climate narrative that worries about both biospheric breakdown and world-system transformation. The chapter introduces the concepts of coal frontier narrative and Petrowar fiction as textual modes that contribute strongly to the formation of the American Climate Emergency Narrative.
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Predelli, Stefano. "The Turn of the Screw". In Fictional Discourse, 132–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198854128.003.0008.
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This chapter proposes a Radical Fictionalist analysis of critical discourse. In particular, it contrasts actuality-concerned modes of criticism directed towards educated naturalization with two different, non-propositional enterprises. One is a form of critical retelling aimed at bringing to the foreground certain allegedly important but not obvious features of the storyworld. Accordingly, this chapter discusses the idea of underreading and the critics’ commitment to faithfulness, paying particular attention to examples from the critical literature on Henry James’ The Turn of the Screw. The other type of critical retelling is a form of biased retelling which abandons faithfulness in favour of canonicity, that is, in favour of retellings consonant with the critical canon.
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"6 FICTIONAL ANTI-COMMUNISM". In The Conservative Turn, 173–202. Harvard University Press, 2009. http://dx.doi.org/10.4159/9780674054127-007.
Texto completo da fonteTrabalhos de conferências sobre o assunto "Fictional turn"
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Ojars, Lams. "REFUGEES-IMMIGRANTS-INTEGRANTS: NARRATIVES ABOUT FORCED DISPLACEMENT IN BALTIC REGION AT THE END OF WW2". In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024, 209–14. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/s10.26.
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The process of displacement and the large numbers of Baltic refugees due to the return of Soviet occupation at the end of World War II is important theme in literature. In the literatures of Latvia, Lithuania and Estonia after war a new and long-lasting phenomenon appeared � literature of exile. This paper will turn to three texts that are from different decades and are written in different styles about displacement. The research focus will be on the novel �After Doomesday� (1968, English translation 2017) [3] by Latvian author Gunars Janovskis (1916�2000) who started his career as a writer in the still independent Latvia. Due to this fact the refugee topic in his novel is based on personal experience and memories and from the perspective of a grown-up. Also the novel �A Woman in Amber� (1995) [4] by the American writer of Latvian origin Agate Nesaule (1938�2022) is autobiographical. She experienced displacement as a child and in her novel she restores the trauma of displacement on a child�s psyche. She has fully integrated in the American society and as her literary language she chose English, thus producing a kind of a hybrid text. A thoroughly different approach to the refugee theme is created in the novel �Salt to the Sea� (2016) [7] by the American author of Lithuanian origin Ruta Sepetys (1967). She is a descendant of Lithuanian refugees, who became immigrants in USA, and in her historical fiction she has no reference to personal experience of displacement. In this paper these three novels will be compared from the perspectives of gender,different generations and textual strategies in the depiction of refugees, displacement and immigration, and a paradigmatic sketch will be provided of the depiction of refugee phenomenon in literature.
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Ma, Dong-mei. "Fictional Turn in Translation Studies". In 2018 2nd International Conference on Education, Economics and Management Research (ICEEMR 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iceemr-18.2018.41.
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Classen, Prof Albrecht. "Literature as a Testing Ground: Communication and Miscommunication in Medieval Literature, with an Emphasis on Marie de France and Heinrich Kaufringer". In 5th World Conference on Arts, Humanities, Social Sciences and Education, 87. Eurasia Conferences, 2024. http://dx.doi.org/10.62422/978-81-968539-1-4-052.
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Even though many people consider literature simply as a medium for entertainment, we can easily recognize its much more powerful relevance for human existence. Within a fictional framework, all the critical issues in human life, such as vices and virtues, communication and miscommunication, love, the concept of death, of God, the issues of hatred and violence, have been explored throughout time. A good literary text thus proves its quality and value when the reader/listener is empowered to reflect on fundamental concerns affecting all of us. My focus here will rest on the ambivalent function of human language within a communicative context. It might be an almost banal notion that all human existence is determined by the effective use of language, since we constantly engage with each other through words or communicative signs (including gestures, mimicry, sounds, etc.). Nevertheless, the critical need to investigate what is wrong with our society does not abate even today; on the contrary. Here I propose to turn to two major medieval authors, twelfth-century Anglo-Norman Marie de France (Lais) and late fifteenth-century German Heinrich Kaufringer (maeren) who both offered a fairly large body of entertaining texts. In both cases, however, we discover quite easily the profound concern these writers share regarding the dysfunctionality of communication. Misunderstanding, conflicts, even aggression regularly surface and threaten to destroy the cohesion of society – very much a problem of the postmodern world as well. By way of looking at the central issue through a literary-historical lens, we gain fascinating insights into the importance of fictional texts in which basic human conflicts are presented and discussed. We can recognize in the texts by Marie de France and by Kaufringer extraordinarily effective narrative mediums to explore and learn about communication and miscommunication, how to identify the problems and how to approach them productively.
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Grosu, Corina, e Marta Grosu. "HIT BY WEIBULL: PLAY TO LEARN NOW!" In eLSE 2019. Carol I National Defence University Publishing House, 2019. http://dx.doi.org/10.12753/2066-026x-19-012.
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A major goal of today's teaching pedagogy is to fine-tune the acquired theoretical Mathematics models in order to address hands-on problems. More specifically, among the probability distribution laws which students are supposed to know, the Weibull distribution plays a very important role, due to its versatility and wide range of real-life applications. In order to stress the importance of the specific scientific uses of the Weibull distribution, we have designed an e-learning game which confronts students with some of the real life problems to which this distribution law can be successfully applied. In fact, the player's role in applying the Weibull distribution is to correctly determine the parameters which correspond to the recorded data of an observed system. Since this distribution law characterizes issues associated to the reliability and survival rate of the components of a system, we have imagined a game scenario featuring a catastrophic computer virus attack. The challenge of the unresponsive software systems and the failure of all performant antivirus programs, demands the urgent intervention of a competent student team. The fictional second year Politehnica students' team steps in and analyzes the situation by making use of their acquired Mathematical statistics skills. The students' team discovers, by means of the Weibull distribution law, that there is a hidden batch file which infected the PCs, a file associated with the visualization of a certain web page. The malign website is meant to hack personal data out of end users' computers. This aggression, in turn, is needed in order to determine users to move their files in a newly launched cloud storage app. The aim of the cloud storage app is unlawful data mining in order to serve the ambitious marketing purposes of a big fashion label.
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Oltean, Ștefan. "Facets of proper names. A syntactic and semantic-referential perspective". In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/77.
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The paper proposes an interpretation within a syntactic and semantic framework of the logical and grammatical status of proper names (PNs) in their conventional and unconventional uses. In doing so, it addresses the semantics of proper names first, which are seen to be unstructured linguistic expressions, with no inherent meaning or sense; their sole function is to denote an individual directly. However, proper names have multiple uses that challenge this narrow acceptation. They often refer to sets of entities and display a behavior characteristic of common names, expressing properties of the bearer of the name, or denote individuals in fictions in their fictional uses. The notion of proper name thus turns out to be an umbrella term that subsumes different categories of nominals, some functioning as unstructured directly referring linguistic expressions, while others are structured and identify the referent(s) descriptively.
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Tekiner, Halil. "THE TURKISH PHYSICIAN (1803): A FRENCH OPERA BUFFA BY NICOLÒ ISOUARD". In 46th INTERNATIONAL CONGRESS FOR THE HISTORY OF PHARMACY, 183–87. Pharmaceutical Association of Serbia, 2024. http://dx.doi.org/10.46793/ishp46.183t.
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This study analyzes Nicolò Isouard’s Le Médecin turc (The Turkish Physician), an opera buffa that premiered on November 19, 1803, at the Théâtre de l’Opéra Comique in Paris. Authored by Armand Gouffé and Pierre Villiers, the libretto offers a nuanced critique of early 19th-century medical practices and societal attitudes towards medicine. Set against an orientalist portrayal of Ottoman Istanbul, the opera narrates the story of Khalil, an elderly Turkish apothecary-physician who claims to have discovered a universal cure, as he navigates through ambition and deceit. It addresses themes of medical hubris, the allure of fame, and ethical dilemmas within the profession, while also critiquing the commodification of healthcare and society’s fascination with exotic cures. Drawing on original resources from the French National Library, this analysis highlights Le Médecin turc’s contribution to the tradition of medico-pharmaceutical satire and its ongoing relevance as a piece of social commentary. Incorporating motifs such as a fictional calming potion and the depiction of madness, Isouard’s work showcases the complex interplay between medicine, culture, and society. The opera’s historical and modern revivals in cities such as Paris, Brussels, Vienna, and Frankfurt underscore its significant impact on the opéra comique genre and its enduring importance in the wider artistic landscape.
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Zammit, Sarah-Jane. "Notre-Dame as the Memory of Paris: Hugo, the Historical Novel and Conservation". In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5050pxtvl.
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Controversies surrounding the restoration and representation of the narrative and memory of Notre-Dame de Paris are not new. The latest debates remind us that the building has been at the centre of conservation controversies since the nineteenth century. But why is Notre-Dame de Paris central to these debates? The answer appears to lie in its function as a mnemonic device for Paris and the French nation. This paper focuses on the four literary pieces published by Victor Hugo in the period between 1823 and 1832 – ‘Le Bande Noir’ (‘The Black Band’), ‘Note sur la Destruction des Monuments en France’ (‘Note on the Destruction of Monuments in France’), ‘Guerre aux Démolisseurs!’ (‘War on the Demolishers!’) and Notre-Dame de Paris (also known as The Hunchback of Notre-Dame). Through an analysis of these four texts, the paper will attempt to understand Hugo’s convictions about the role of buildings – especially Notre-Dame de Paris – in establishing the memory of the city and the nation, and how these in turn underpinned his arguments for conservation. Whilst these texts were all written in a period before the development of key contemporary concepts in the psychology and neuroscience of memory, this paper nevertheless uses the concepts of memory, imagination and Mental Time Travel to try to understand the kind of memory work that the Cathedral performs, and that Hugo suggests it performs in his writing. By examining how Hugo’s literature augmented and engaged the reader’s memory and imagination of the past, this paper will explain how Hugo romanticised the idea that the building was a witness to history. The paper ultimately argues that Hugo positioned Notre-Dame de Paris not only as the centrepiece in his own fiction, but as a beacon of memory for Paris and France, and as such the building came to represent Paris, and indeed the nation as a whole.