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Hartley, James A. "Guilt-Edge Security". After Dinner Conversation 2, n.º 5 (2021): 60–70. http://dx.doi.org/10.5840/adc20212543.
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How does our limited life span determine our choices and our view on the preciousness of life? How would these views change if we lived forever? In this work of philosophical short story fiction, a traveling salesman sits at the bar after a long day drinking bourbon. He is approached and cleverly pitched a new product he has discovered on a distant rim planet, Life. The product stops the aging process. The first batch is free, and the salesman returns eight years later to get into the distribution business.
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Hartley, James A. "Guilt-Edge Security". After Dinner Conversation 5, n.º 5 (2024): 107–18. http://dx.doi.org/10.5840/adc20245550.
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How does our limited life span determine our choices and our view on the preciousness of life? How would these views change if we lived forever? In this work of philosophical short story fiction, a traveling salesman sits at the bar after a long day drinking bourbon. He is approached and cleverly pitched a new product he has discovered on a distant rim planet, Life. The product stops the aging process. The first batch is free, and the salesman returns eight years later to get into the distribution business.
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Kholifah, Rista Nur, Aulia Sahda Rahima, Nurhabibah Qurrotul 'Aini e Hidayatul Nurjanah. "Guilt and Madness in Edgar Alan Poe's "The Tell-Tale Heart”: Psychoanalysis Study". Wanastra : Jurnal Bahasa dan Sastra 16, n.º 1 (19 de março de 2024): 01–08. http://dx.doi.org/10.31294/wanastra.v16i1.20249.
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Human being has different emotions within themselves, like sadness, happiness, upset and including guilt which can come from various causes. Uncontrolled guilt can be one of the causes of someone experienced madness, which then has a bad impact on themselves and other parties because this emotion of madness can lead someone to act beyond the reason. Guilt and madness can be found in the behavior of someone who is experiencing a bad psychological condition on the daily life. Guilt and madness can also be found in the literary works and one of them is from Edgar Allan Poe with a short story entitled The Tell-Tale Heart. This is a classic of the Gothic fiction genre that uses point of view from an unnamed narrator who experienced the guild and madness that lead the narrator to killed someone. Therefore, this research is intended to examine the feelings of guilt and madness that presented in the short story The Tell-Tale Heart by Edgar Allan Poe. This research uses qualitative methods and uses Sigmund Freud's 1923 psychoanalytic theory. This research conduct to reveals the relationship between guilt, madness, and the narrator's id in The Tell-Tale Heart short-story. Researchers found that “Ego” was more dominant from guilt and madness. This finding offers a new perspective on how guilt and madness are presented in Edgar Allan Poe's short story The Tell-Tale Heart seen from psychoanalytic theory which has the potential to provide input for future field research and practice.
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Norbury, Kate. "‘On some precipice in a dream’: Representations of Guilt in Contemporary Young Adult Gay and Lesbian Fiction". International Research in Children's Literature 5, n.º 2 (dezembro de 2012): 184–94. http://dx.doi.org/10.3366/ircl.2012.0062.
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This article explores the representation of guilt in six recent young adult novels, in which it is suggested that teen protagonists still experience guilt in relation to their emerging non-normative sexual identities. The experience of guilt may take several different forms, but all dealt with here are characterised by guilt without agency – that is, the protagonist has not deliberately said or done anything to cause harm to another. In a first pair of novels, guilt is depicted as a consequence of internalised homophobia, with which protagonists must at least partly identify. In a second group, protagonists seem to experience a form of separation guilt from an early age because they fail to conform to the norms of the family. Certain events external to the teen protagonist, and for which they cannot be held responsible, then trigger serious depressive episodes, which jeopardise the protagonist's positive identity development. Finally, characters are depicted as experiencing a form of survivor guilt. A gay protagonist survives the events of 9/11 but endures a breakdown, and, in a second novel, a lesbian protagonist narrates her coming to terms with the death of her best friend.
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Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction". Journal of Literary Theory 12, n.º 2 (3 de setembro de 2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.
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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
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Reimão, Sandra. "Detective literature - a panoramic approach". Revista USP, n.º 140 (22 de março de 2024): 11–24. http://dx.doi.org/10.11606/issn.2316-9036.i140p11-24.
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This paper is divided into two parts: in part I we address the origins and characteristics of the detective fiction literature and in part II we address detective fiction literature written by Brazilians. In each of these parts, there are three subdivisions organized as follows: Edgar Allan Poe and the birth of the detective genre; Conan Doyle’s Sherlock Holmes and Agatha Christie’s Hercule Poirot; On the detective fiction noir (part I); Around the Brazilian detective; Brazil: on crime and guilt; The expansion of Brazilian detective fiction literature in the XXIst century (part II).
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Andersen Kraglund, Rikke. "Karaktermord i 10’ernes danske skønlitteratur". Passage - Tidsskrift for litteratur og kritik 36, n.º 85 (12 de julho de 2021): 7–27. http://dx.doi.org/10.7146/pas.v36i85.127959.
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In the 2010s, Danish literature triggered heated debates about the relationship between artistic freedom, defamation, responsibility, guilt and shame, and initiated negotiations of collective norms and values in connection with testimonies in autobiographical fiction. The article establishes that there is a need to consider how differently character assassinations appear in and outside autobiographical fiction, taking into account that autobiographical fiction establishes ambiguous statements that are not found in the media coverage.
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Aba shaar, Mohammed Yassin. "Self-reconstruction through the Sense of Guilt: A Study of Select Masterpieces in the American Fiction". British (Jurnal Bahasa dan Sastra Inggris) 9, n.º 2 (26 de setembro de 2020): 48. http://dx.doi.org/10.31314/british.9.2.48-62.2020.
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Abstract:Reconstruction is considered as a comprehensive transformation of one’s attitude with respect to one’s ego; one’s action; the object of guilt and the temporal-existential experience. The process of reconstruction stems from the need for improvement of the self. Any human being gets exposed to the feelings of sadness, despair, envy, shame, embarrassment and many other emotions that could leave him psychologically disabled. Anyway, guilt is a part of self-conscious emotions that the individual involves for the sake of self-evaluation. It is developed when the person feels that he doesn’t live up to the standard behaviours that are appropriate, good or correct. The feelings of guilt spur the process of reparation that reduces the consequences of negative actions. Feelings of guilt are produced as emotions of social control; they are different from one place to another depending on the culture, norms, social context and structure. This paper aims to study the feelings of guilt and their influence on self-reconstruction in three prominent, famous fictional works which are Toni Morrison’s Beloved (1987), Khalid Hosseni’s The Kite Runner (2003) and Nathenial Hawthorn’s The Scarlet Letter (1850). It is going to inspect how the feelings of guilt foster the development of a stable trend towards order and improvement.
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Sanders, Mark. "Culpability and Guilt: Child Soldiers in Fiction and Memoir". Law and Literature 23, n.º 2 (julho de 2011): 195–223. http://dx.doi.org/10.1525/lal.2011.23.2.195.
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Knežević, Jelena, e Aleksandra Nikčević-Batrićević. "In Search of Lizzie Borden: Between Fact and Fiction". Transylvanian Review 32, n.º 3 (12 de janeiro de 2024): 109–39. http://dx.doi.org/10.33993/tr.2023.3.06.
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The paper discusses the representation of Lizzie Borden in true-crime and crime-fiction prose texts, as well as in a stage production. It centers on the hypothesis of sociocultural aspects which constitute the accounts written about her and feminist readings. Regardless of genre, these nar ratives portray Lizzie Borden in various ways—from a female tormenter to a guilt-free spinster. Both true-crime books and crime-fiction novels, together with the ballet, are modified by socio cultural factors and are also subject to intertextuality. In addition, the lines between fiction and non-fiction literary works of primary concern are blurred.
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Clark, David. "Review of Guilt Rules All: Mysteries, Detectives, and Crime in Irish Fiction, edited by Brian Cliff and Elizabeth Mannion". Review of Irish Studies in Europe 4, n.º 1 (14 de junho de 2021): 172–75. http://dx.doi.org/10.32803/rise.v4i1.2673.
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Review of Guilt Rules All: Mysteries, Detectives, and Crime in Irish Fiction, edited by Brian Cliff and Elizabeth Mannion (Syracuse: Syracuse U.P., 2020), 304pp. ISBN 9780815636830, $29.95 (paperback). ISBN 9780815636731, $75.00 (hardback).
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Shchur, Ekaterina. "Crimes in Fiction and Alleged Punishments". Legal Linguistics, n.º 25 (36) (1 de outubro de 2022): 10–14. http://dx.doi.org/10.14258/leglinleglin(2022)2502.
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The article discusses a number of works of Russian and foreign literature in which certain crimes appear. The author considers various circumstances of the crimes committed, which aggravate or mitigate the guilt of the offender. There also were considered some relevant articles of modern Russian legislation related to the crimes under these investigations. According to the analysis, the author suggests alleged punishments which the heroes of the books could be awarded.
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Wonham, Henry B. "Postcritical Howells: American Realism and Liberal Guilt". American Literature 92, n.º 2 (1 de junho de 2020): 229–55. http://dx.doi.org/10.1215/00029831-8267720.
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Abstract This essay explores the concept of liberal guilt in William Dean Howells’s fiction, focusing especially on his 1888 novel Annie Kilburn. Genealogies of liberal guilt rarely mention Howells, and yet no American writer has more painstakingly elaborated the embarrassing predicament of middle-class complicity in social arrangements that entail the widespread suffering of others. I provide a summary of theoretical positions on liberal guilt as a structure of feeling that entails what Richard Rorty calls “doubt about [one’s] own sensitivity to the pain and humiliation of others, doubt that present institutional arrangements are adequate to deal with this pain and humiliation.” Howells felt these doubts profoundly, and yet he understood liberal guilt as a productive emotional and intellectual predicament. Put simply, Howells viewed liberal guilt, like realism itself, as an attitude of resigned acceptance of persistent social injustices but an attitude capable of animating, rather than dissipating, liberal commitments and public agendas.
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Rey Segovia, Ana-Clara. "Climate Fiction and its Narratives". Exchanges: The Interdisciplinary Research Journal 8, n.º 2 (4 de fevereiro de 2021): 47–68. http://dx.doi.org/10.31273/eirj.v8i2.539.
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In the late 20th and early 21st centuries, the narratives about a possible environmental collapse and its consequences have multiplied. This is due to a growing awareness about issues such as climate change or the energy crisis. The so-called ‘climate science fiction’ or cli-fi has reflected these concerns in highly successful films, like the two analysed here: The Day After Tomorrow (2004) and The Day the Earth Stood Still (2008), a remake of the 1951 classic. In this paper, I approach both films through an analysis of their plot and narrative structure, focusing mainly on the evolution of their main characters and storylines. I argue that these mainstream productions avoid any examination of the actual causes of the environmental crisis, turning it into a matter of individual responsibility based on Judaeo-Christian values such as guilt and redemption, especially those about the apocalypse.
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Kamrowska, Agnieszka. "Elektroniczny łowca: postać cyborga w kinie science fiction głównego nurtu". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, n.º 37 (31 de março de 2021): 21–34. http://dx.doi.org/10.14746/i.2020.37.02.
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The aim of this text is to analyze the cyborg motif in mainstream American science fiction films, as represented by the Terminator and RoboCop film series. The cyborg characters presented in these films are focused mainly on violence and destruction, which emphasizes the technophobic attitude of the culture within which these films were made. The only redemption of their otherness is showing their humanity. For a cyborg, its technological provenance is a burden and results in its sense of guilt. In this manner, American science fiction films support anthropocentrism and the conservative status quo.
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Fernández, Richard Jorge. "Guilt, Greed and Remorse: Manifestations of the Anglo-Irish Other in J. S. Le Fanu’s “Madame Crowl’s Ghost” and “Green Tea”". Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, n.º 2 (23 de dezembro de 2020): 233–51. http://dx.doi.org/10.28914/atlantis-2020-42.2.12.
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Monsters and the idea of monstrosity are central tenets of Gothic fiction. Such figures as vampires and werewolves have been extensively used to represent the menacing Other in an overtly physical way, identifying the colonial Other as the main threat to civilised British society. However, this physically threatening monster evolved, in later manifestations of the genre, into a more psychological, mind-threatening being and, thus, werewolves were left behind in exchange for psychological fear. In Ireland, however, this change implied a further step. Traditional ethnographic divisions have tended towards the dichotomy Anglo-Irish coloniser versus Catholic colonised, and early examples of Irish Gothic fiction displayed the latter as the monstrous Other. However, the nineteenth century witnessed a move forward in the development of the genre in Ireland. This article shows how the change from physical to psychological threat implies a transformation or, rather, a displacement—the monstrous Other ceases to be Catholic to instead become an Anglo-Irish manifestation. To do so, this study considers the later short fictions of Joseph Sheridan Le Fanu and analyses how theDublin-born writer conveys his postcolonial concerns over his own class by depicting them simultaneously as the causers of and sufferers from their own colonial misdeeds.
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RAGACHEWSKAYA, Marina. "POETICS OF DESIRE IN D.H. LAWRENCE’S SHORTER FICTION". Astraea 2, n.º 1 (2021): 61–78. http://dx.doi.org/10.34142/astraea.2021.2.1.04.
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Desire is a specific subject of research in many areas, including literary studies and text analysis. The representation of desire in fiction is an inseparable part of the sub-genre of psychological prose; its interpretation by readers and scholars requires an interdisciplinary approach and relies on psychoanalytic theories and terminology for elucidation. Shorter psychological fiction – novellas and short stories – depend on the authors’ mastery of language use, while the formal textual length is limited. Therefore, the study of desire encoded in a short fictional piece is both difficult due to laconism and suggestiveness, and fruitful as a revelation of most subtle nuances of human nature through the examination of artistic discourse. D.H. Lawrence’s novellas and short stories articulate desire as the unconscious wish to obtain the object of love. It is the merit of the writer’s art to employ various artistic means that may serve as the manifest content. Interpreting imagery and symbolism, bodily consciousness and characters’ “syncopated” dialogues, opens up such aspects of a textual embodiment of desire as its elusiveness, impossibility to verbalize and often its “forbidden” nature. Instead, the Ragachewskaya Marina writer resorts to heavy suggestiveness, gaps and silences to be filled with the reader’s intuitive or professional knowledge, meaning-charged adjectives, metaphors and analytical intrusions. Examples from a selection of D.H. Lawrence’s short fictional works reveal defense mechanisms that balance the fulfilment of desire. The mastery of D.H. Lawrence’s shorter fiction rests on the skill to reveal the unnamable, to show the inner conflict working through desire fulfilment, to bring to consciousness the shame, guilt and pleasure irrespective of moral judgment.
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Pettitt, Joanne. "Nazis in Auschwitz: Reflections on Anglophone Perpetrator Fiction". Humanities 12, n.º 3 (9 de junho de 2023): 47. http://dx.doi.org/10.3390/h12030047.
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This article considers the various ways in which the topographies of Auschwitz are used as a symbolic means of articulating particular kinds of guilt in fiction relating to the Holocaust. To do this, I analyse three primary examples: John Donoghue’s The Death’s Head Chess Club (2015), Martin Amis’ The Zone of Interest (2014), and Dalton Trumbo’s unfinished novel, Night of the Aurochs (1979). These texts, I argue, employ the complex spatial dynamics of the site in order to address important questions of power, agency, and moral ambiguity. More specifically, such imagery reveals a spectrum of complicity that, without exonerating those responsible for the genocide, suggests the need for a more nuanced understanding of the Holocaust and those that were responsible for its implementation.
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Sujata. "Guilt and Redemption : A Critical Study of the Kite Runner by Khalid Housseini". History Research Journal 5, n.º 4 (30 de agosto de 2019): 191–212. http://dx.doi.org/10.26643/hrj.v5i4.7502.
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The literature of Afghanistan speaks the voice of every violated soul either it is male or female. Specially, it speaks the voice of violence, taking place towards every male, female and child. Violence is not only a harsh threat to our life but it blocks our happiness. Violence totally kills our ambition, and simultaneously our every future positivity by which we can face the bold incidents coming in front of us. Actually violence has no clear cut definition and explanation. A process of creative fiction has always been a segment of the creative evolution of the society itself. Afghan fiction has also the same segment and immersed in the social and political milieu. In the tumultuous era of past three or more decades and especially after 1979, there is change of patterns and subjectivity of Afghan writers. These writers have almost created a body of a literature that is homeless in every respect and the almost literature is produced largely by the diasporas creative souls of Afghanistan. These writers due to the miserable condition left the country and now living in foreign lands. The phases of different type of war and violence have affected Afghanistan and inflicted so much harm on the country. This harm was to such extent that the social life of common people along with their customs and traditions are completely in disorder and a state of disarray. So Afghan writers worked for the improvements and every Afghan artist became so much conscious and keen to preserve and worked for the recreation of Afghanistan’s post. It is quite natural Afghan writers blend their fiction in their memory of time they lived in the country to and their highly emotional and experiences in Afghanistan. Afghan writers, haunted strongly by memories, and they prefer talking about only Afghanistan. They rarely talks about their plight as exiled and refuge in the host country like U.S.A and France. The diverse area of study finds its face in the faithful exploration of day to day life exclusively from the perspective of the common victimized Afghan. This study presents a sequence and execution of violence as well as guilt and redemption in the novel the Kite Runner by Khalid Housseini.
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Klerk, Marianne. "Stadtschmerz: Stories of Loss and Guilt in Times of Gentrification". Amsterdam Museum Journal 2, n.º 1 (1 de julho de 2024): 176–207. http://dx.doi.org/10.61299/i_b299zm.
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This essay detects a genre of non-fiction, which it coins as Stadtschmerz. In this genre, middle class residents who experience alienation due to gentrification turn this experience into stories of loss and guilt (for being the target group of gentrification). This essay explores four canonical texts of Stadtschmerz from the mid-19th century to the present; the authors explore the gentrifying city as flâneurs and report on their findings in a feuilleton. As such, the essay shows how through expressing Stadtschmerz the middle-class attempts to cope with the making of the middle-class city. In this way, Stadtschmerz neutralizes the positionality of the writer and his readership within processes of gentrification. Furthermore, it offers readers voyeurism into the lives of the displaced lower classes. Lastly, Stadtschmerz processes middle-class anxiety amid gentrification. A deconstructive analysis of Stadtschmerz tells us that the experience of gentrification is above all a hot topic for the middle-class itself.
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Atack, Margaret. "From Meurtres pour mémoire to Missak: Literature and historiography in dialogue". French Cultural Studies 25, n.º 3-4 (agosto de 2014): 271–80. http://dx.doi.org/10.1177/0957155814540401.
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Didier Daeninckx has devoted many novels to the history and memory of the Occupation. This article explores the relationship between his fiction and historiographical frameworks with reference to Meurtres pour mémoire, contrasted with Missak published 25 years later. After discussion of 1980s historiography of the Occupation and the Algerian War, it looks particularly at narrative structure and the thematics of order (both obedience and orderly documentation), seeking to establish the differences in the ways these two novels historicise the past, and the historiographical differences in their approach to guilt, knowledge and interpretation.
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Tyler, Tom R. "Viewing CSI and the Threshold of Guilt: Managing Truth and Justice in Reality and Fiction". Yale Law Journal 115, n.º 5 (1 de março de 2006): 1050. http://dx.doi.org/10.2307/20455645.
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Schalk, Sami. "Wounded Warriors of the Future Disability Hierarchy in Avatar and Source Code". Journal of Literary & Cultural Disability Studies: Volume 14, Issue 4 14, n.º 4 (1 de outubro de 2020): 403–19. http://dx.doi.org/10.3828/jlcds.2020.27.
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The article analyzes the representation of disabled veterans in James Cameron’s Avatar and Duncan Jones’s Source Code. The argument is that these two films use the figure of the heroic, technologically enhanced, white disabled veteran man to alleviate cultural anxieties, fears, and guilt about veterans and disabled people in the contemporary United States. In doing so, however, Avatar and Source Code perpetuate a disability hierarchy that reinforces a variety of oppressive cultural norms. The article, therefore, demonstrates how the films reflect the differential valuation and treatment of different kinds of disabled people in American culture at large via the genre of science fiction and its technological imaginative possibilities.
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Strada-Rozenberga, Kristīne, e Jānis Rozenbergs. "Criminal liability of legal entities in Latvia: General insight, peculiarities and topicalities". Strani pravni zivot, n.º 4 (2021): 655–65. http://dx.doi.org/10.5937/spz65-34728.
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The path that the Latvian normative regulation in criminal law and the Latvian criminal law doctrine took to arrive at the possibility of turning against legal entities by criminal law measures was neither fast nor simple. The initial position was that regulation like this would be incompatible with the basic principles of Latvian criminal law since, historically, psychological understanding of guilt has been characteristic in the Latvian criminal law, guilt is identified with a person's mental attitude towards the criminal offence, and guilt also is one of the grounds for criminal liability. It was not clear how this understanding of guilt could be compatible with punishing such "legal fiction" as a legal person in the framework of criminal law. Ways, in which Latvia could adjust its legal regulation to various international normative documents that Latvia had acceded to, at the same time leaving the dominant basic institutions of the Latvian criminal law theory unaffected, were sought rather reluctantly. Discussions that lasted for years resulted in the inclusion into the Criminal Law coercive measures, existing outside the system of criminal penalties, applicable to legal persons, likewise, several criteria were defined as the grounds for applying these coercive measures to legal persons, the central of which was a criminal offence, committed by a natural person who was connected to the legal person, in the interests of the legal person or as the result of insufficient control by this legal person. Accordingly, criminal procedural regulation was created, which to a large extent equalled a legal person to an accused natural person in criminal proceedings. Although the criminal law and criminal law regulation, which provides for the possibility to apply criminal law coercive measures to legal persons in the framework of criminal proceedings has existed in Latvia for already 16 years, these criminal law instruments have started taking their place in the practice of applying law only in recent years, simultaneously also revealing deficiencies in the legal regulation, already now providing sufficient material for analysis to be used for improving these legal norms.
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Anjum, Sheeba, e Nupur Tandon. "Mapping the Boundaries: J.M. Coetzee's Disgrace and Slow Man as Modern Cosmopolitan Fiction". Shanlax International Journal of English 7, n.º 4 (1 de setembro de 2019): 51–56. http://dx.doi.org/10.34293/english.v7i4.638.
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The paper aims to investigate J.M. Coetzee’s Disgrace and Slow Man in terms of cosmopolitan concepts of shame, imaginative sympathy and its limits. Coetzee’s novels encourage a ‘distinctive individualism’ which reflects the insufficiency of shame, guilt and sympathy as indicative of cosmopolitan philosophy. In this regard, a selective theoretical approach is adopted, which suggest that Coetzee’s fiction is significant and promotes a faith-driven association between the cosmopolitan subject and the ‘other’. The presence of others in his novels makes it cosmopolitan, even though the central subject often gets humiliated and excluded by the ‘other’. The subject’s shame in both the novels makes them experience isolation and their problematic association with the other, which has a flagged presence in Coetzee’s prose. The present paper attempts to argue that both the novels end on a different note proving that cosmopolitanism has different facets- positive as well as negative and also challenges Coetzee’s readers to identify their cosmopolitan limits.
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Pelzer, Jurgen. ""The Facts Behind the Guilt"? Background and Implicit Intentions in 'Downfall'". German Politics and Society 25, n.º 1 (1 de março de 2007): 90–101. http://dx.doi.org/10.3167/gps.2007.250105.
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The film Downfall, released in 2004 at the height of an unprecedented "Hitler wave," has to be seen in a long tradition of literary and cinematic attempts to deal with Germany's "unmasterable past." The filmmakers claimed that by focusing on Hitler's final days before the end of WWII they had discovered "new territory" and presented the "facts behind the guilt." This article points out, however, that the film is historiographically based on the account by Joachim Fest's book Downfall-in which the author, as in his earlier work, follows a methodological approach that personalizes history and focuses on Hitler as "singular personality," rejecting any systematic analysis of political and social context. The film goes even further in its unscrupulous blurring of fact and fiction and simplistically juxtaposes a very small group of perpetrators (basically Hitler and Goebbels) and the large group of victims, i.e., the general population that only wanted to survive. Such an attempt to focus on a tragically failing, isolates Hitler, who alone is to blame for nation's "Downfall" is hardly suitable to help Germans to step out of the shadow of their past.
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Almasoudi, Ruwaida. "Posttraumatic Memories and Feelings of Guilt in Tim O'Brien's The Things They Carried". Al-Adab Journal, n.º 145 (14 de junho de 2023): 21–32. http://dx.doi.org/10.31973/aj.v1i145.3921.
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Writing has long been related to communicating emotional experiences. One of these experiences is war, and the Vietnam War was a long brutal struggle divided into two periods. The first is called the good Vietnam War, covering the years from 1964 to 1968. The second spanned from 1968 to 1972, known as the bad Vietnam War, through which fighting turned into guerilla war. Battles of the second phase were characterized by savage killings of soldiers and mass murder of unarmed civilian Vietnamese. This bad war inspired many literary narratives in drama, fiction, and poetry. Tim O’Brien’s The Things They Carried is considered one of the most read and vivid works about this struggle. The text reflects combatants’ engagements in foreign lands and their inability to adjust to the trauma after the war is over. The paper investigates the situations of various characters in the novel and how their experiences were influential in preventing them from normally continuing with their lives. Post-traumatic memories and permanent feelings of guilt and confusion are the main obstacles veterans face preempting them from indulging once again in society.
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Rodi-Risberg, Marinella, e Helen Mäntymäki. "Perpetrator Trauma in Television Crime Series We Hunt Together". Crime Fiction Studies 3, n.º 2 (setembro de 2022): 175–93. http://dx.doi.org/10.3366/cfs.2022.0073.
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Crime fiction scholarship increasingly focuses on trauma in contemporary crime narratives but has largely neglected to investigate perpetrator trauma. This article contributes to filling this gap by exploring perpetrator trauma in We Hunt Together (2020), a British television crime series written by Gaby Hull, that portrays the consequences of perpetrator trauma on a former child soldier from the Democratic Republic of the Congo (DRC), Babeni (Baba) Lenga, waiting for permanent residency in the UK. Viewers learn about his violent past through flashbacks and his involvement with Frederica ‘Freddy’ Lane which precipitates Baba’s present return to violence. Informed by crime fiction studies, literary trauma theory, and research on child soldier narratives, this study argues that perpetrator trauma complicates and renders agency ambiguous in We Hunt Together, where Baba’s story eventually leads to healing. Ultimately, the perpetrator trauma narrative of a former child soldier, focalised through Baba, brings together the themes of war, colonialism, and the growing use of child soldiers in the present, challenging the crime-solving plot by raising ethical and political issues of guilt and responsibility and problematising any easy distinctions between victim and perpetrator/criminal.
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Javed, Muhammad Saleem. "گڈیکو نظر، افسانہ نا نفسیاتی جاچ اس". Al-Burz 13, n.º 1 (23 de dezembro de 2021): 22–26. http://dx.doi.org/10.54781/abz.v13i1.261.
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Psychological analysis of Brahui short story is quite new in Brahui research. This paper describes the psychological disorders of various characters of ‘’Guddiko Nazar”. In the 1986 century Waheed Zaheer penned down “Guddiko Nazar”, a psychological short story in Brahui language. It was first published in his book “Shanza”. The aim of this paper was to reveal the mental disorders as depicted in the mentioned short story. Mental illness is a state of mind where psychological problems impose not only hurdles in a harmonious co-existence but create distress felt by the individual who suffers from one. A mental condition may even hurt those around the sufferer. In this study, the researcher employed content analysis, a branch of descriptive and analytical research to conduct a psychological review of fiction writing, in comparison with modern psychological theories, especially related to mental illness. The investigation revealed that “Guddiko Nazar” is a master piece of literary work of Brahui language, which focuses the important psychological disorders, like obsessive compulsive disorder (OCD) including anxiety, guilt, complexes and many more mental disorders. The short story reflects the writing skills in line with contemporary psychological fiction writing techniques.
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Oramus, Dominika. "Strangers in Togetherville – Women, Physics and Popular Culture". Prague Journal of English Studies 9, n.º 1 (1 de julho de 2020): 133–53. http://dx.doi.org/10.2478/pjes-2020-0007.
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AbstractBy drawing on Jean Baudrillard’s cultural theory this paper aims to show how contemporary popular culture tells the stories of scientifically talented women of the past. In the course of my argument, I refer to books and films set in the past and focus on the women-and-science motif. Firstly, the stories of individual female scientists living long ago are analysed (Mileva Einstein, Joan Clarke), then, the collective female protagonists – wives of scientists living together in “togethervilles” (Los Alamos, Atomic City), and women scientists pictured in speculative fiction – are discussed. The cliches used in these texts – lonely forgotten geniuses, female worthies taken advantage of, ostracised women accused of not being feminine enough and devoted wives who help their men and their countries in World Wars I and II or the Cold War – reflect ideologies that Western culture used to believe in. Conversely, the two original presentations of past female scientists that I found both come from speculative fiction concerned with science and heavily influenced by the ideologies of science: science and pacifism, science and a sense of guilt, and science as a weapon in the quest for democracy and freedom.
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Vice, Sue. "Memory Thieves?" English Language Notes 57, n.º 2 (1 de outubro de 2019): 114–26. http://dx.doi.org/10.1215/00138282-7716196.
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Abstract This article examines the contemporary phenomenon of fiction and film about Holocaust survivors suffering from dementia. Earlier examples of this kind use dementia to explore the interior states of survivor guilt and the suppression of painful memories. By contrast, twenty-first-century representations convey the passing on of Holocaust memory to the next generation. These individuals, in the role of offspring or carers, act as the investigators and inheritors of a history that either has vanished from the survivor’s memory or appears in the present as if it were still taking place. Such works are expressive of cultural anxiety at the vanishing of the generation of eyewitnesses to the events of the Holocaust yet also act to defuse the unwelcome lessons such witnesses might impart.
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Rye, Gill. "The ethics of aesthetics in trauma fiction: memory, guilt and responsibility in Louise L. Lambrichs’s Journal d’Hannah". Journal of Romance Studies 9, n.º 3 (dezembro de 2009): 48–59. http://dx.doi.org/10.3828/jrs.9.3.48.
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Jastrzębska, Adriana Sara. "Narkopowieść latynoamerykańska: rzeczywistość z Szekspirem w tle". Literatura i Kultura Popularna 27 (29 de dezembro de 2021): 191–201. http://dx.doi.org/10.19195/0867-7441.27.14.
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Latin American literature is not rich in references to the works of Shakespeare, but rather focuses on its own tradition. The premise on which this article is based, however, is that the reality of the region displays Shakespearean characteristics.
The aim of this article is to present a subgenre, or a literary convention, known as a narconovel. The configuration of the represented world in this noir novel variant is determined by the drug trade with its far-reaching social and cultural implications.
The narconovel is an important part of the most recent literature in Colombia, Mexico, and other countries of the region. This article addresses associations and disassociations between the narconovel and the crime fiction convention, centering on Shakespearean motifs, related in this case to the concepts of power, crime, guilt, and punishment.
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Branach-Kallas, Anna. "Traumatic Re-enactments: Portraits of Veterans in Contemporary British and Canadian First World War Fiction". Revista Alicantina de Estudios Ingleses, n.º 31 (15 de dezembro de 2018): 149. http://dx.doi.org/10.14198/raei.2018.31.09.
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The paper focuses on the portrait of the First World War veterans in selected British and Canadian novels published at the turn of the twenty-first century. The authors use various means to depict the phenomenon of trauma: from flashbacks disrupting the present, through survivor guilt, nightmares and suicide, to aporia and the collapse of representation. The comparative approach used in the article highlights national differences, yet also shows that the discourse of futility and trauma provides a trasnational framework to convey the suffering of the First World War. As a result, although resulting in social castration and disempowerment, trauma serves here as a vehicle for a critique of the disastrous aftermath of the 1914-1918 conflict and the erasures of collective memory. Re-enacting traumatic plots, the British and Canadian novels under consideration explore little known facets of the 1914-1918 conflict, while simultaneously addressing some of our most pressing anxieties about the present, such as social marginalization, otherness, and lonely death.
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Patronnikova, Yulia S. "Emilio De Marchi’s Novel “The Priest’s Hat”: the Origins of Italian Giallo". Studia Litterarum 7, n.º 1 (2022): 146–69. http://dx.doi.org/10.22455/2500-4247-2022-7-1-146-169.
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The paper examines Emilio De Marchi’s novel “The priest’s hat” (1888) as a precursor of detective fiction in Italy. Influenced by Dostoevsky and the French tradition (Gaborio) with its attention to characters’ psychology, De Marchi tells the story of “crime and punishment” that contains crucial elements of detective fiction. The plot revolves around the priest’s murder. The only evidence, his hat, determines how the detective story unfolds — it introduces the mystery, hints at the crime, and sparks the investigation. The case is officially led by the investigating judge. The story also contains untypical genre elements: not fully developed character of the detective (whose function is performed by several characters); the absence of the mystery as to who is the criminal; the investigation’s secondary role; and, most importantly, it’s resolution in a psychological way. De Marchi’s focus is placed on the inner conflict of the perpetrator. The guilt makes the hero lose his mind and at the case’s hearings he unwittingly confesses that he is the murderer. The justice is restored, but the crucial role is played not by human ingenuity (as in a typical detective story) but by the fate: the supreme force prevents the perpetrator from getting away with the crime.
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Smith, Keverne. "“Almost the Copy of My Child That'S Dead”: Shakespeare and the Loss of Hamnet". OMEGA - Journal of Death and Dying 64, n.º 1 (fevereiro de 2012): 29–40. http://dx.doi.org/10.2190/om.64.1.c.
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This article emphasizes the importance of studies which look at changes and similarities in mourning over time. It argues that relevant evidence can come from creative fiction as well as from other sources, provided that this is analyzed rigorously in terms of structures and patterns. As an illustration of this approach, it examines the evidence in recurring features of Shakespeare's plays that his writing was deeply and lastingly affected by the death of his only son Hamnet, a twin, at the age of 11, and identifies five motifs which support this interpretation: the resurrected child or sibling; androgynous and twin-like figures; a growing emphasis on father-daughter relationships; paternal guilt; family division and reunion. The article suggests that this approach could be applied to other instances where a body of creative writing shows traces of overt or buried grief.
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Zahra, Kanwal, e Aisha Jadoon. "A Reconsideration of Feminine Sensuality in Twilight in Delhi: Indian Women in Fiction". Global Social Sciences Review V, n.º II (30 de junho de 2020): 551–57. http://dx.doi.org/10.31703/gssr.2020(v-ii).52.
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Modernist discourses centralize feminine sensuality as an indicator of a female’s autonomy; generally, they denounce religious or traditional constraints related to its expression. In particular, liberal feminism rejects normative constraints on female sensuousness, which are argued to enforce gendered restrictions. Amid these popular considerations, there has been a remarkable increase in interest in postcolonial women’s approach to sensuality. Being perceived as sensually submissive by their faith, the question which continually surfaces is: is the sensual ethics of postcolonial women shaped by their religion? Or are they shaped by the societal considerations and values of the society they are born into? This paper addresses this question by considering the varied choices of sensual behaviour adopted by female characters in the postcolonial text, Twilight in Delhi, written by Ahmad Ali. By approaching the decadent culture of Delhi in this novel from a feminist perspective, this paper analyses the feminine sensuality of the Indian women and considers their assumptions about what counts as an appropriate choice for them within the cultural context of Indian society. This paper concludes that the sensual inhibition of these women is conditioned by the cultural bias towards the female gender that connects shame and guilt with their sensual desires in a traditional Indian society.
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Veisland, Jørgen. "Gæst hos virkeligheden. Sprogets landflygtighed i "Løgneren" af Martin A. Hansen og "Det svundne er en drøm" af Aksel Sandemose". Studia Scandinavica, n.º 2 (22) (28 de dezembro de 2018): 116–31. http://dx.doi.org/10.26881/ss.2018.22.07.
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Central motifs and episodes form interesting and significant links between Aksel Sandemose’s novel Det svundne er en drøm, published in 1946, and Martin A. Hansen’s novel from 1950, Løgneren. The motifs of truth versus lie, and the intermingling of the two, and of the split subject, manifest themselves in the protagonists who share a common first name, Johannes. The texts are an attempt to write diaries that transcend the borderline between past and present, fiction and reality, truth and lying. The diary form, composed in the first person as an alternative to the novel form proper, is viewed by both protagonists as an experiment that questions the ability of language to portray reality accurately and truthfully. Furthermore, the diaries break with chronology in order to come to terms with a darkness within, an essentially unknown, demonic territory that prevents knowledge and truth from emerging. Central episodes in the two diaries are practically identical, e.g. the drowning accident that takes place in both texts, the absence of the ‘I’ of the diary from home, and the sense of alienation from home. Additionally, significant symbols recur in both texts, e.g. a necklace and migratory birds. The protagonists’ relationships to women are all but identical and involve an examination of the past and of guilt that becomes a potential key to resolving what constitutes guilt, conscience, home and exile. The two texts form an intertext and there is compelling evidence pointing to Sandemose’s diary having profoundly influenced Hansen’s narrative.
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Gall, Alfred. "Fantastyka naukowa i trauma: konstelacje w powieści Solaris Stanisława Lema". Papers in Literature, `10 (30 de julho de 2022): 9–22. http://dx.doi.org/10.31648/pl.7853.
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The paper offers a new reading of Stanisław Lem’s most popular novel Solaris. The text is interpreted as a literary representation of trauma. The notion of trauma is understood in two ways. On the one hand, it refers to the tradition of the gothic novel and its staging of the uncanny which causes disbelief in the reality. In Lem’s Solaris this complexity is transferred into the context of science fiction. On the other hand, trauma is a key motif in the novel and indicates the past experiences or the present states of mind the protagonists have not come to terms with. The aim of this article is to explain how science fiction serves as a literary disguise for the representation of those traumatic experiences which cannot be handled on the ground of traditional psychoanalytical strategies for overcoming trauma. Solaris thus undermines basic assumptions of psychoanalysis. However, the novel is not a mere illustration of theoretical concepts or a work based upon Lem’s own personal wartime experiences in Lwów, though his biographical background may have influenced the writer’s depiction of the situation on the Solaris station. The novel should rather be treated as a critical assessment of the contemporary technological civilisation, which enables man to conquer the cosmos but is also guilt-ridden and burdened with a past, still haunting the protagonists even in the depths of the universe.
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Whitley, John S. "Pudd'nhead Wilson: Mark Twain and the Limits of Detection". Journal of American Studies 21, n.º 1 (abril de 1987): 55–70. http://dx.doi.org/10.1017/s0021875800005491.
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My starting point is two related critical judgments. In a recent essay on the detective fiction of Ross Macdonald, Eric Mottram suggests that an important point in the history of such fiction is reached in Mark Twain's play The Amateur Detective (1877) and his short story “A Double-Barrelled Detective Story” (1902), parodies of the literary process of detection where “Twain demolishes the man-hunt plot and the Sherlock Holmes plot of aristocratic ratiocinative powers derived from Poe's Chevalier Auguste Dupin”. A quarter of a century before this, Leslie A. Fiedler came to the conclusion that Twain's most extensive treatment of detective work, Pudd'nhead Wilson, was “an anti-detective story, more like The Brothers Karamazov than The Innocence of Father Brown, its function to expose communal guilt.” The purpose of this essay will be to show how the process of detection was cited in Twain's writings throughout his career, usually but by no means inevitably in a parodic manner, and that Pudd'nhead Wilson needs to be understood as a serious, indeed, tragic parody of the detective story, one which turned most of Twain's models on their heads in order to demonstrate that a supposedly successful detective dénouement (what Fiedler elsewhere describes as “Pudd'nhead's book – a success story”) is deliberately allowed to work against its normal function in a detective novel.
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Shikhalkina, Tatiana Grigorievna. "Communication peculiarities of negotiation language on the example of texts of English-language fiction films". Litera, n.º 9 (setembro de 2020): 103–10. http://dx.doi.org/10.25136/2409-8698.2020.9.32920.
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The object of this research the communicative peculiarities of negotiation language on the example of English-language movies. Due the growing attention to the means of successful negotiations, the authors raise the relevant question on the need to consider speech aspects of negotiation process. The goal of this work is to analyze the communicative strategies and tactics (“pressure”, “high opening offer”, “disqualification”, “guilt”, “salami”) in the process of negotiations from the perspective of their effectiveness in achieving desired communicative goals. Combination of theoretical overview of the strategies and tactics of negotiation, as well as analysis of the effectiveness of applying tactics to achieve goals of negotiating parties were chosen as the methods for this research. The novelty of this article consist in reference to communicative peculiarities of negotiations in movies that have not previously been the object of analysis in the area of communication studies. The results of this research allowed determining the key strategies and tactics of negotiation in the analyzed films, as well as defining their effectiveness in the negotiation process.
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Smith, Keverne. "Tangled Up in Grief: Bob Dylan's Songs of Separation". OMEGA - Journal of Death and Dying 68, n.º 3 (maio de 2014): 279–91. http://dx.doi.org/10.2190/om.68.3.f.
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This article argues that much can be learned about the ways in which individuals grieve through a careful analysis of the presentation of loss in creative fiction, especially in terms of unconscious and uncensored responses presented indirectly through figurative language and structural patterns. It takes Bob Dylan's collection of songs about the anguish caused by lost love. Blood on the Tracks, as an example. An examination of the songs included in, and some rejected for, the album reveals developing responses to grief resulting from relationship breakdown, including the search for the absent one and for reconciliation; the intrusion of deep pain into everyday situations; the problem of infidelity and guilt; the attempt to reach a more detached perspective; the consequences of the pain becoming unbearable; and the attempt at a kind of closure. Taken together, the songs reveal how complex and contradictory responses to the agony of loss can be.
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Kent, Katie. "The List". After Dinner Conversation 5, n.º 3 (2024): 5–23. http://dx.doi.org/10.5840/adc20245322.
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Is it cheating if your spouse gives you permission? In this work of philosophical short story fiction, Chloe and Nick agree on a list; they each have five famous people that, if the opportunity arises, they can sleep with. It’s Nick’s idea they have a list, however, it’s Chloe who goes to a concert and meets the lead singer that is on our list. At first, she declines the lead singer’s offer, but opts to continue texting. Eventually, and without telling Nick ahead of time, she spends the night with the lead singer. Wracked with guilt, a few weeks later she tells Nick what happens, and he leaves her, insisting that she did, in fact, cheat on him, as she should have know the whole idea of a list was being done in nothing more than good fun and was not, in fact, a hall pass to cheat.
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Radler, Dana. "Us and Them: A Vision of Heroes on the Move in John McGahern’s Fiction". American, British and Canadian Studies Journal 27, n.º 1 (1 de dezembro de 2016): 74–93. http://dx.doi.org/10.1515/abcsj-2016-0019.
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Abstract Current explorations of migration in fiction focus on innovative perspectives, linking memory and trauma with the concepts of exile and conflict. Personal memories ask for an understanding of what belonging and identity represent for the Irish; immigration has hybrid and fertile links to memory studies, psychology and psychoanalysis (Akhtar), making the immigrant both love and hate his new territory, while returning to the past or homeland to reflect and regain emotional balance. From the focus on ‘the sexy foreigner’ (Beltsiou), we rely on the idea of crisis discussed by León Grinberg and Rebeca Grinberg, Frank Summers’ examination of identity, the place of the modern polis and the variations of the narrative (Phillips), the trans-generational factor (Fitzgerald and Lambkin), the departure seen as an exile (Murray and Said) and the impact of guilt (Wills). Such views support an analysis of McGahern’s writing which works as a blend of memories and imagination, the writer highlighting dilemmas, success and failure as ongoing human threads. They are as diverse as the people met by the novelist in his youth, many of them being workers, nurses, entrepreneurs, teachers and writers, both young immigrants in search of a better life and migrants returning to spend their retirement or holidays home.
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Kalac, Anna-Maria Getoš. "Guilt, Dangerousness and Liability in the Era of Pre-Crime – the Role of Criminology? To Adapt, or to Die, that is the Question!" Monatsschrift für Kriminologie und Strafrechtsreform 103, n.º 3 (26 de novembro de 2020): 198–207. http://dx.doi.org/10.1515/mks-2020-2054.
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AbstractThere is no doubt that, in terms of criminal policy, we have been living in an era of pre-crime for quite some time now. Whether we like it or not, times have changed and so has the general position on concepts of (criminal) guilt, dangerousness and liability. Whereas once there was a broad consensus that penal repression, at least in principle, should be executed in a strictly postcrime fashion, nowadays the same consensus has been reached on trading freedom (from penal repression) for (promised) security, long before an »actual crime« might even be committed. In this regard, the criminalisation of endangerment and risks only nomotechnically solves the issue of »actual« vs. »potential« crimes – in essence it merely creates a normative fiction of pre-crime crimes, whereas in reality actual crimes do not exist at all. The starting point of criminalisation has clearly shifted away from the guilt of having committed a crime, to the mere dangerousness of potentially committing a crime, which potential as such is purely hypothetical and beyond the grasp of empirical proof. Such shift raises fundamental criminological and sociological questions, just as it highlights our obligation to process and shape this shift. The change of paradigm from post- to pre-crime also makes one wonder about the current and future role of criminology. It makes one wonder about criminology’s capacity to adapt and its willingness to take on a transdisciplinary lead role in scientising or even criminologising the precrime era. In the end it also makes one wonder whether such an engagement would be scientifically justified.
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Taylor, Cheryl. "W/rites of passion: Thea Astley's Sunshine Coast transition from poetry to fiction". Queensland Review 24, n.º 2 (17 de novembro de 2017): 271–81. http://dx.doi.org/10.1017/qre.2017.36.
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AbstractDuring 1947 and 1948, Thea Astley's life changed in ways that permanently affected her writing. In August 1947, she obtained a transfer to Imbil State School, west of Noosa. In November she re-sat failed University of Queensland exams in economics and history, and graduated with a BA in the following April. In January 1948, Astley took up a secondary teaching post at Pomona Rural High. On 27 August, she married Jack Gregson at the Gympie Registry Office. She transferred to Brisbane for the remainder of 1948, and early in the New Year moved with her husband to Sydney. This article contrasts poetry about love and place that Astley wrote during these transition years with the themes and tone of her novel, A Descant for Gossips, published in 1960 and set in Pomona (‘Gungee’) and its environs. Dedicated ‘To John’, Astley's love poems display a passionate lyricism and a commitment that, though usually nervous and conditional, encompasses moments of settled happiness and clarity. In Descant, by contrast, moments of fulfilment in the love affair of teachers Helen Striebel and Robert Moller are suffused with guilt. Similarly, Astley's youthful response in her poetry to the beauty of the ranges and the coast collapses a decade later in Descant into a dystopic rendition of Gungee as a town that punishes defiance and crucifies difference. The article concludes by speculating about causes for the transformation.
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Sharma, Himani. "Dullness Versus Vivacity: A Study of Gustave Flaubert’s Madame Bovary". SMART MOVES JOURNAL IJELLH 8, n.º 6 (29 de junho de 2020): 35–42. http://dx.doi.org/10.24113/ijellh.v8i6.10628.
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An ideal marriage is a state of being equal in every way which is built on a healthy dose of admiration, on understanding, dedication, trust and loyalty. French novelist Gustave Flaubert has raised the same issue in his most discussed work Madame Bovary. Flaubert was most notable for being the leading exponent of literary realism in French literature. There were writers before Flaubert who tried their hands at realism but not all of them, as was the case in the work of Flaubert. The fiction Madame Bovary is a dedication to its heroine’s sentiments. Though she has been tagged, adulterous, a failed wife and failed mother, we feel pity for her. She really demands our sympathy since she was unable to achieve that eternal pleasure throughout her whole life. Her mere guilt was her sensible nature which shattered all her dreams. The present paper is an attempt to study her innocence by analysing her nature, sentiments and imagination in depth.
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Perdana, Dicky, e I. Wayan Juniartha. "Depression Symptoms on The Dialogues of Laney Brooks in I Smile Back Movie". Diglossia: Jurnal Kajian Ilmiah Kebahasaan dan Kesusastraan 15, n.º 1 (11 de outubro de 2023): 19–32. http://dx.doi.org/10.26594/diglossia.v15i1.3324.
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This qualitative research aims to find out and analyze depression symptoms of Laney Brooks on dialog I Smile Back movie. This research focus on analyzing one of four type bipolar disease episodes it called depression on the main character named Laney Brooks. The research methods used in this research are descriptive qualitative methods and library research methods and also observation method was used to get the data for this study by watching I Smile Back Movie and also using a note-taking technique to identify, and classify the data contains depression symptoms of Laney Brooks on dialog. NAMI (National Alliance Mental Illness) and Analyze Fiction by Kenney, W. P. (1966) theory has been applied in this research. The final result shows that Laney Brooks' depression symptoms are indicated by symptoms such as changes in appetite or weight, concentration and memory problems, irritability, and feelings of worthless or guilt. The symptoms of depression are shown by Laney through her dialogue.
Keywords: Bipolar disorder, Depression, Dialogue, Movie.
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Betty, Louis. "Rhinos and Hippos, Oh My!" French Politics, Culture & Society 41, n.º 1 (1 de março de 2023): 48–70. http://dx.doi.org/10.3167/fpcs.2023.410103.
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Abstract Laurent Obertone is virtually unknown outside the French-speaking world. The author of bestselling fiction and nonfiction works on crime, immigration, and civil war in France, Obertone maintains a cult following despite being exiled from mainstream media. This article examines the motifs of Obertone's work, focusing on human domestication, that is, the tendency of prosperous societies to excuse criminal behavior due to guilt, virtue signaling, and fear of conflict. Obertone sees French judicial laxity as a product of misguided humanitarianism coupled with status competition among elites to show the greatest indulgence toward criminals. This attitude is pushing France toward civil conflict, as criminals take advantage of a culture de l'excuse. Ultimately, Obertone's critique is of the “open society” consensus of the postwar West. Anti-authoritarian impulses are maladaptive in a climate of mass immigration and rapid social change, and if France does not take maintaining order seriously, the result will be catastrophic.
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Edinger, Julia. "More". After Dinner Conversation 4, n.º 5 (2023): 59–69. http://dx.doi.org/10.5840/adc20234546.
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What causes a person to cheat on their spouse? How do you know if someone is truly repentant for their actions, or if they are only repentant because they were caught? In this philosophical short story fiction, Jacob is in a stable, if unexciting marriage to Dina, the mother of their two children. However, Jacob is also having an affair with the younger Sasha, the neighborhood barista. Jacob feels some guilt for his actions but heads off to meet and have sex, with Sasha on her break. After intercourse she opens his phone and finds out, for the first time, he is married. Sasha tells Jacob he must tell his wife of his infidelity by 4pm, or she will call herself. Jacob rushes home, a truly penitent man, ready to confess his wrongdoing, and beg for forgiveness. However, moments before confessing to his wife, he sees on the news that Sasha has been killed in a car accident.