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Gilg, A. "Marine nature reserves: fact or fiction?" Biological Conservation 62, n.º 3 (1992): 229. http://dx.doi.org/10.1016/0006-3207(92)91055-w.
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Schut, F., RA Prins e JC Gottschal. "Oligotrophy and pelagic marine bacteria: facts and fiction". Aquatic Microbial Ecology 12 (1997): 177–202. http://dx.doi.org/10.3354/ame012177.
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Tayefi, Shirzad, e Tohid Shalchian Nazer. "تحلیل جایگاه رفتار اخلاقی در آثار داستانی یعقوب یاد علی با تکیه بر آموزههای ژاک لکان". ghalib quarterly journal 13, n.º 1 (20 de março de 2024): 45–63. http://dx.doi.org/10.58342/ghalibqj.v.13.i.1.3.
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Jacques Marie Émile Lacan was one of the thinkers who reread the category of ethics based on psychoanalytical doctrine. He considered adherence to the sign of desire as a criterion for ethical behavior. In this research, we have tried to evaluate the actions of the characters in Yaqoub Yad Ali's fictional works according to the psychoanalytic teachings of Lacan. Based on this, it is necessary to explain the relationship between the place of desire as a psychological matter and ethic. One of the goals of the authors in this research is to explain the distinction between the desire of the subject and The Other as an irreconcilable divergence. In this regard, the question has been answered that based on Lakan's psychoanalytical teachings, which one of Yad Ali's fictional characters had an ethical action, and which one had an immoral action? This research has been done by qualitative analysis based on the teachings of Lacan and the collection of fiction works of Yaqub Yad Ali. The findings of the research show that the establishment of the desire suppression mechanism causes the subject to encounter the phenomenon of loss or deprivation. The subject identifies the signifier of The Other’s desire as the signifier of his desire and fulfills it. According to Lakan, the ethical behavior becomes possible when the subject always remains faithful to the signifier of his true desire. The ethical subject in Lakan's view is the one who, in the face of the law, always transgresses it through the sign of joesance
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Glover, William J., e Donna M. Kocak. "50th Anniversary James Bond: Marine Technologies—Fact or Fiction". Marine Technology Society Journal 49, n.º 6 (1 de novembro de 2015): 134–39. http://dx.doi.org/10.4031/mtsj.49.6.7.
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Huntsman, Gene R. "Endangered Marine Finfish: Neglected Resources or Beasts of Fiction?" Fisheries 19, n.º 7 (julho de 1994): 8–15. http://dx.doi.org/10.1577/1548-8446(1994)019<0008:emfnro>2.0.co;2.
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Herrera Anchustegui, Ignacio, e Violeta S. Radovich. "Wind Energy on the High Seas: Regulatory Challenges for a Science Fiction Future". Energies 15, n.º 23 (2 de dezembro de 2022): 9157. http://dx.doi.org/10.3390/en15239157.
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This paper aims to study the current regulation and governance of wind energy turbines on the high seas and detect regulatory challenges. We focus on the existing regulatory framework to develop marine wind farms in areas beyond national jurisdiction (ABNJ), the nature of wind farms and wind turbines in said areas, and which governance schemes and institutions ought to coordinate and regulate any future marine wind energy development. Our research shows that under public international law, the deployment of wind turbines on (most parts of) the high seas for all States is possible, but many issues still remain, either thinly regulated or unanswered. We inquire where, by whom, and how can marine wind parks be built on the high seas according to public international law and the United Nations Convention on the Law of the Sea (the LOSC). Lastly, we evaluate the possible role of marine spatial planning (MSP) in developing wind energy on the high seas.
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Manase, Irikidzayi. "South African experiences in a restructured post-apocalyptic geo-political future as depicted in speculative fiction". Image & Text, n.º 37 (1 de novembro de 2023): 1–15. http://dx.doi.org/10.17159/2617-3255/2023/n37a35.
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This article draws on science fiction's aesthetics of instability and multiple perspectives that disrupt the dominance of a Euro-American narrative voice (Langer 2011), as well as decolonial concepts such as coloniality, decentring and epistemic freedom (Ngügï 1986, 1992; Quijano 2007; Grosfoguel 2011; Ndlovu-Gatsheni 2018), to analyse the human condition and geopolitical patterns reflected in post-disaster worlds as depicted in Gillian Armstrong's "Elton" (2011), Abigail Godsell's (2011) "Taal" and Sarah Lotz's "Marine Drive, Durban Beachfront" (2014). The notion of multiple perspectives and contexts, and Smith's (2012) disruptive view that science fiction occurs everywhere, are used as lenses to examine the decolonised literary imagination. Ngügï argues (1986, 1992), that such an imagination moves the literary setting and vision from the Euro-American centre to another centre, in this case to a speculative post-apocalyptic South African future. The article argues that the depicted literary future and unfolding human experiences enable the constitution of decolonised literary imaginings and a cultural geography that restructure the current domination of geo-political and spatial mappings by the Global North. This restructured imagining places South Africa, and by extension Africa, at the centre of a speculative vision of humanity's sense of itself, knowledge production and agency, which are needed for the future survival of both the environment and other global inhabitants.
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Hutchings, Pat, e Elena Kupriyanova. "Cosmopolitan polychaetes – fact or fiction? Personal and historical perspectives". Invertebrate Systematics 32, n.º 1 (2018): 1. http://dx.doi.org/10.1071/is17035.
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In the biogeographical and taxonomical literature before the 1980s there was a wide perception that widespread, often referred to as ‘cosmopolitan’, species were very common among polychaetes. Here we discuss the origins of this perception, how it became challenged, and our current understanding of marine annelid distributions today. We comment on the presence of widely distributed species in the deep sea and on artificially extended ranges of invasive species that have been dispersed by anthropogenic means. We also suggest the measures needed to revolve the status of species with reported cosmopolitan distributions and stress the value of museum collections and vouchers to be associated with DNA sequences in resolving species distributions.
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Kohn, Alan. "Conus Envenomation of Humans: In Fact and Fiction". Toxins 11, n.º 1 (27 de dezembro de 2018): 10. http://dx.doi.org/10.3390/toxins11010010.
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Prominent hallmarks of the widely distributed, mainly tropical marine snail genus Conus are: (1) its unusually high species diversity; it is the largest genus of animals in the sea, with more than 800 recognized species; and (2) its specialized feeding behavior of overcoming prey by injection with potent neurotoxic, paralytic venoms, and swallowing the victim whole. Including the first report of a human fatality from a Conus sting nearly 350 years ago, at least 141 human envenomations have been recorded, of which 36 were fatal. Most Conus species are quite specialized predators that can be classified in one of three major feeding guilds: they prey exclusively or nearly so on worms, primarily polychaete annelids, other gastropods, sometimes including other Conus species, or fishes. These differences are shown to relate to the severity of human envenomations, with the danger increasing generally in the order listed above and a strong likelihood that all of the known human fatalities may be attributable solely to the single piscivorous species C. geographus.
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Venzo, Paul, Lara Hedberg e Prue Francis. "Whose eggs are these? Gender in ocean-themed picture books". Journal of Science & Popular Culture 4, n.º 2 (1 de dezembro de 2021): 115–33. http://dx.doi.org/10.1386/jspc_00029_1.
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Ocean-themed picture books are important educational resources that promote marine science literacy. At the same time, these picture books also carry messages about gender to child readers. Through an analysis of 100 ocean-themed informational and narrative non-fiction picture books, the authors uncover various ways in which ideas about gender are communicated to child readers, whether in relation to human or animal characters or animals with human traits and qualities. The article tests the hypothesis that marine science picture books educate children about gender in traditional, normative and binarized ways. The findings suggest that marine science picture books are male-dominated, with narrow, often stereotyped gender roles ascribed to both human and sea animal characters. Despite a male-dominated presence, the authors describe ways in which contemporary picture books might begin to fill the gaps in diverse gender representation in this genre.
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Butenina, E. M. "VLADIVOSTOK AS A TRANSFER LOCUS IN ENGLISH FICTION". Humanities And Social Studies In The Far East 18, n.º 1 (2021): 161–65. http://dx.doi.org/10.31079/1992-2868-2021-18-1-161-165.
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The paper discusses Vladivostok – “an eccentric city on the edge of cultural space”, in Yuri Lotman’s terms – as a locus of intercultural transfers (both in direct and indirect sense) in Somerset Maugham’s and Maurice Kennedy’s short stories as well as in William Gerhardie “novel on Russian themes” Futility. For Vladivostok (as for St. Petersburg whose natives founded the Pacific fort and became its first residents), railway stations and bridges are the key “topographic indices”, in Vladimir Toporov’s terms. For the transfer aspect various leisure institutions (restaurants, theatres, clubs) are also important as they mark existence outside home. Besides these cultural facilities, the locus of sea is important as it both divides and connects distant land locations. The paper argues that after Gerhardie’s novel Vladivostok entered English literary consciousness as a distant, practically unreachable topos of unfulfilled dreams. At least, this is the city’s function in the Irish author Maurice Kennedy’s short story titled “Vladivostok”. The expanding circle of city texts in cultural studies enables to discover new pages in literature. The “eccentric” marine cities such as St. Petersburg, Vladivostok, or New York have a special potential for such studies, since the sea routes initially determined their multicultural identity and a unique location sense for which the transfer possibility is just one of the many facets.
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Ingólfsson, Agnar. "A marine refugium in Iceland during the last glacial maximum: fact or fiction?" Zoologica Scripta 38, n.º 6 (novembro de 2009): 663–65. http://dx.doi.org/10.1111/j.1463-6409.2009.00405.x.
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Gelfant, Blanche H. "Beauty and Nightmare in Vietnam War Fiction". Prospects 30 (outubro de 2005): 751–78. http://dx.doi.org/10.1017/s0361233300002258.
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“Hue is the most beautiful city in the world,” a Vietnamese woman tells Marine Lieutenant Kramer, a central character in Robert Roth's Vietnam War novel,Sand in the Wind. Published in 1973, five years after the sweeping Tet Offensive had reduced Hue to rubble,Sand in the Windset the city within a complex meditation upon beauty and its relation to human desire, history, the vagaries of chance, ephemerality of happiness, and ineluctability of loss. Though ambitious in intent,Sand in the Windhas not been widely acclaimed. Except for John Hellmann's close reading, it has usually been referred to passingly or overlooked. Thomas Myers dismissed it as a “sterile mural,” a static work fixed upon a wall. I prefer to think of it as “walking point” — an action Myers ascribed to Vietnam War fiction he endorsed for “cutting trails” (227). Like the pointman of a patrol who clears a path for others to follow, the Vietnam War novel, Myers argued, opened a way into tangled historic territory — the territory of war now inhabited by literature. I propose to enter this forbidding area throughSand in the Wind, for I believe that like the novels Myers lauded it too secures a way, a unique way, of engaging safely with the Vietnam War and the losses it entailed.The lives of an estimated 5,713 soldiers, American and Vietnamese, were lost in the battle at Hue, as were almost 3,000 civilian lives. That the “longest and bloodiest” battle of the Offensive took place in Hue during the festive days of Tet was particularly shocking, for Hue was commonly considered an open city, and Tet, the lunar New Year, a time of peace and renewal. Traditionally, Tet Nguyen Dan ushered in the new year with three days of festivity, days of respite during which communal bonds were strengthened. Family members and their relatives renewed the bond of blood by gathering together for an exchange of gifts and good wishes; ancestral bonds were renewed by visits to family graves. Rice farmers plowing their paddies renewed the bond between man and nature.
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Ahmad, F. "The facts and fictions of the Gondana Concept". Journal of Palaeosciences 36 (31 de dezembro de 1987): 14–23. http://dx.doi.org/10.54991/jop.1987.1555.
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Wegner did not envisage that Gondwanaland was an independent continent. This concept was introduced earlier but concretised by Du Toit. His Permian ice-cap covered almost the entire supercontinent. Ahmad, however, pointed out that the ice-cap at no stage was exceptionally large. Du Toit was not aware of the glacial deposits in Arabia or Tibet, and his ice-cap would have to be enlarged considerably if it was to form deposits in these areas, particularly the latter as well. All evidence goes to suggest that Tibet was not separated from India in the Permo-Triassic and the suture zone concept is not valid. These Tibetan glacial deposits carry Glossopteris flora and Stepanoviella and Eurydesma fauna as typical Gondwana forms. The deposits reach upto Kun Lun mountains.
The Himalayan region was separated from the peninsular basin and was part of the southern margin of an epicontinental Tethys. The ice-cap did not reach this area. However, Himalayan diamictites, as also those of Tibetan should be older than the peninsular and a Carboniferous age assigned to them by Chinese geologists may be valid.
The Gondwana concept envisaged glacial deposits overlain by freshwater sediments. This seemed to apply to peninsular India. Western Australia, South Africa, etc. But of late marine incursions have been reported from India and South Africa leaving, perhaps, only Antarctica where it could truly be applied today. The ice-cap covered peninsular India and peneplained it so that after it receded, the area was significantly down warped and this resulted in marine incursions. Umaria’s access to the sea was obviously to the southeast underneath the ice-cap and hence it could not carry fauna older than that of Manendragarh, Rajhara, too was perhaps an extension of this sea, although it could have been independent.
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ZHOU, Yue. "The Representation of the Anthropocene in Contemporary Chinese Science Fiction". IAFOR Journal of Cultural Studies 9, si (7 de junho de 2024): 115–29. http://dx.doi.org/10.22492/ijcs.9.si.06.
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Contemporary Chinese science fiction (SF) is preoccupied with the representation of the Anthropocene. Wu Ming-yi’s The Man with the Compound Eyes (2011) and Hui Hu’s The Azure Tragedy (2018) are stand-out examples. In light of the framework of ecocriticism, it is found that both writers challenge long-seated anthropocentric thinking and practices in their catastrophic narration of human-induced plastic pollution in the marine environment, increased extinction of species by human overharvesting, and the human-induced general destruction of nature. Both connect natural disasters to human causes and reflect on human supremacy. The futuristic imaginations enabled by the SF genre effectively unfold the slow violence humanity commits and remains oblivious to. However, the criticism offered by the two authors is compromised to some extent. Hui Hu is optimistic about the new technology in dealing with anthropogenic eco-problems, while this technological triumph appears to sidestep the possibility of finding a more sustainable and once-and-for-all solution. Wu Ming-yi implies a new ethical perspective that rejects human centrality and reestablishes the human-nature relationship. On the other hand, he overlooks intra-human inequality in causing and forcing people to experience the eco-catastrophes. This article contributes to a new understanding of contemporary Chinese Anthropocene SF from an ecocritical perspective.
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Ali, Areej Mohammed Mubarak. "عالم ما وراء الطبيعة في الأدب الإنجليزي والأمريكي: دراسة مقارنة". مجلة العلوم الإنسانية و الإجتماعية 8, n.º 4 (30 de abril de 2024): 35–54. http://dx.doi.org/10.26389/ajsrp.r031023.
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Supernatural fiction invites the reader to a world of mystery and imagination raising questions and sometimes doubts about the reality of this world. As it tempts the reader to explore the “unknown”, it tends to emphasize the possibility of the existence of vague worlds and issues beyond human mind and science. However, this possibility remains a hypothesis because it is always accompanied by a feeling of “uncertainty” which raises our doubts and made us skeptic about the existence and reality of this world. The same supernatural literary works tackle social, religious, and scientific issues as well as posing questions about its reliability which is another form of skepticism. This research argues that Skepticism is not far from the Gothic literary works, it presents various cases of “skepticism” in different supernatural literary works: The Rime of the ancient Mariner (1798), Frankenstein (1818), Young Goodman Brown (1835), The Fall of the House of Usher (1839). Each case of skepticism differs from the other in its form, the circumstances that created it, the purpose behind using it, and the conclusion it ends in. So, analyzing “Skepticism” its existence, different forms and contexts, and connection to Gothic fiction is the main motive of this research.
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Dobler, Delphine, Christophe Maes, Elodie Martinez, Rinny Rahmania, Budhi Gautama, Aulia Farhan e Edmond Dounias. "On the Fate of Floating Marine Debris Carried to the Sea through the Main Rivers of Indonesia". Journal of Marine Science and Engineering 10, n.º 8 (23 de julho de 2022): 1009. http://dx.doi.org/10.3390/jmse10081009.
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Plastic debris has become an acute marine pollution concern worldwide in modern times. Indonesia is particularly impacted because of its high population density, heavy rainfall rate and numerous coastlines. A Lagrangian analysis was performed to simulate the fate of fictive marine debris drifting along surface currents, including tides and Stokes drift. The fictive particles were released according to the discharge rate of 21 Indonesian rivers and advected over 4 years. Most of the particles were stranded along Indonesian coasts (60%), before 6 months had elapsed (84%) and within a range of 1000 km (76%). The time variability exhibited two seasonal peaks, one centered on January-February and one on June-July, consistent with in situ observations. However, the results underline the complexity of performing direct comparisons between in situ observations and numerical simulations for stranded waste due to limited measurements and the heterogeneity of field methods and protocols.
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Shamsi, Shokoofeh. "Seafood-borne parasites in Australia: human health risks, fact or fiction?" Microbiology Australia 41, n.º 1 (2020): 33. http://dx.doi.org/10.1071/ma20009.
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Seafood is an increasingly popular source of healthy protein. Since 1961, the average annual increase in global food fish consumption has been twice as high as population growth and exceeds the consumption of meat from all terrestrial animals combined1. The following overview of seafood safety concerns is intended to help readers to understand potential risks associated with parasites in seafood products and the need for a national approach to reduce or minimise them. It is important to note that parasite infections are not limited to seafood: all other types of foods, including vegetables and red meat can also be infected with a broad range of parasites, some of which are more dangerous than parasites in seafood. The main issue is lack of science based contemporaneous safety protocols which focus on seafood-borne parasites. As a result, in Australia regulatory control of parasites in seafood lags far behind other food sectors. Seafood safety is a broad topic. The focus of this article is on an understudied field in Australia, seafood-borne parasitic diseases. The word ‘seafood' in this context encompasses fish and shellfish products from marine and freshwater ecosystems that are, directly or indirectly, meant for human consumption.
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Jomaa, Nayef, e Zeyad Abbood Hassan. "Exploring the Fictional World in The Rime of the Ancient Mariner: A Critical Stylistic Study". Journal of the College of Languages, n.º 50 (1 de junho de 2024): 1–32. http://dx.doi.org/10.36586/jcl.2.2024.0.50.0001.
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Critical stylistics is an interesting area that explores ideologies and social concepts, specifically in literary genres. Although critical stylistic studies are increasing, limited studies have explored social concepts in Romantic poetry. Hence, this qualitative study aimed at exploring the construction of the fictional world in The Rime of the Ancient Mariner by Samuel Taylor Coleridge employing Functional Grammar. The poem was analysed to highlight the linguistic elements that contribute to the construction of the fictional world by Coleridge. Nominal and verbal groups, word order, and deictic expressions were analysed within the framework of Critical Stylistics. The findings revealed that nouns and their descriptions are sometimes incompatible with the fictional world of Coleridge. Verbs are used to express the speaker's full control over the hearer and other characters in the poem. These linguistic phenomena were employed with varied frequencies. The findings of the study, firstly, extended the existing knowledge of the critical stylistic description of poetry, and secondly illustrated how the combination of linguistic elements could present new meanings.
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Sarkar, Sanchar, e Swarnalatha Rangarajan. "Marine Entanglements: Tropical Materialism and Hydrographic Imaginary in Nnedi Okorafor’s Lagoon". eTropic: electronic journal of studies in the Tropics 21, n.º 2 (7 de outubro de 2022): 180–97. http://dx.doi.org/10.25120/etropic.21.2.2022.3900.
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In the epoch of the Anthropocene the environment is predominantly characterised by innumerable entanglements of matter. According to materialist theorist Jane Bennett, matter acts as a ‘distributive agency’ that intertwines itself with a “multiplicity of other material bodies and formations'' across space and time (Khan, 2012, p. 42). Nnedi Okorafor’s novel Lagoon (2014) centres around the material entanglement scenario between oil and marine waters off the coast of Nigeria in Africa. Okorafor’s Afrofuturist Science Fiction narrative focuses on oil’s vitality and overwhelming presence in the tropical marinescape and elaborates on the significance of oil as a material determinant that forces us to rethink matter’s affective influence in the marinescapes of the tropics. This article analyses how human extracted matter like oil acts as a vital agentic force that confronts, reconfigures, and modifies the physical compositional properties of marine water. The article employs tropical materialism to study the performative role of matter as a ‘hyperobjective’ register within the constructed eco(aqua)-speculative and hydrographic imaginary of Okorafor’s Sci-Fi narrative.
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Jue, Melody, Anya Yermakova, Jacob Cram e Eli Stine. "Invisible Kelp Forest". Plant Perspectives 1, n.º 1 (15 de abril de 2024): 189–203. http://dx.doi.org/10.3197/whppp.63845494909712.
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Invisible Kelp Forest: From Smell to Sound is a speculative fiction and an 8-channel sonic composition that explores the possibility that sound is an ideal medium for translating senses of smell, or chemosensation underwater. It invites the listener to smell the kelp forest with their ears, a mode of synaesthesia. We explore the ways that sound and smell can both convey intensity, distance, dispersion, texture and elements of memory that may be specific to particular organisms. We imagine that the olfactory memory of the kelp forest is multiple, linked to what is meaningful for different marine fauna. In a literary narrative that explores the sensations of four different marine organisms, we develop sonic impressions of their chemosensory experiences of the kelp forest in a scientifically-informed manner. Invisible Kelp Forest plays with invisibility in several ways: by denying the listener any visual cues, they must use their imagination to conjure a spatial sense of the kelp forest on their own. We invite listeners to pay attention to the way that listening for smell feels in the body, perhaps deterritorialising the sensorium.
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Bussière, Kirsten. "Survival is insufficient: Degenerate utopian nostalgia in popular culture post-apocalyptic fiction". Australasian Journal of Popular Culture 9, n.º 2 (1 de setembro de 2020): 261–75. http://dx.doi.org/10.1386/ajpc_00031_1.
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From SARS to H1N1, and most recently COVID-19, global disease outbreaks have defined the past several decades. For many, we are living in what can only be described as a pre-apocalyptic moment. Indeed, we are currently facing a global pandemic outbreak – a situation that had been previously described as imminent and perhaps even long overdue. Consequently, the publication of pandemic narratives has increased exponentially, which exposes a heightened social concern about the risk of viral outbreak. But instead of speaking to these growing anxieties and providing models to interpret our current position, a growing body of popular culture post-apocalyptic fiction remains deeply entrenched in a dangerous nostalgia that undermines the construction of hypothetical models that could appropriately respond to these threats. I argue that these texts can therefore be read as degenerate utopias, Louis Marin’s term for the false utopian myths that circulate within a society. A degenerate utopia is thus not really a utopia at all, but rather an ideology that elevates the past to a false state of perfection. My article examines the construction of degenerate utopian realities through collective memory in Emily St John Mandel’s Station Eleven and Peter Heller’s The Dog Stars.
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Minyailo, R. V., e N. V. Minyailo. "METAPHORICAL PERSONIFICATION IN UKRAINIAN TRANSLATIONS OF THE PROSE JOSEPH CONRAD". Opera in linguistica ukrainiana, n.º 29 (9 de novembro de 2022): 186–96. http://dx.doi.org/10.18524/2414-0627.2022.29.262404.
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The study of the original and translated marine novels is still relevant. Considering the longevity of Ukrainian marine language creativity and the endless arsenal of native language tools for translating English marine novels, the purpose of the given article is to explore the features of metaphorical personification in Ukrainian translations of Joseph Conradʼs novels «The Shadow-Line» by Olha Fyra and «Typhoon» by Mykola Roshkivskyi; to find the semantic bases of the idiostyle in these texts, to classify the types of semantic detailing of the humanized realities of the sea element. The research methodology consisted of a continuous sample of contexts with metaphorical personification of marine realities in the given novels and further semantic analysis of selected units, which consisted of distinguishing and detailing their semantic bases. In the researched texts, the semantic bases of marine personification are a ship, which has an inseparable «spiritual-bodily» connection with the captain; wind (storm, typhoon) – a fierce emotional enemy of the sailor; waves – aggressive and frantic; sea as a «twin» of man in appearance, behavior, state of mind. The semantic components of ʻdeificationʼ, ʻadmirationʼ, ʻcharmʼ, ʻemotionʼ, ʻprotectionʼ, ʻtrustʼ, ʻdelicacyʼ, ʻcompassionʼ, ʻdreaminessʼ, ʻanxietyʼ in the artistic and figurative representation of the wind and its varieties – ʻmadnessʼ, ʻrageʼ, ʻforceʼ, ʻcunningʼ, ʻinsidiousnessʼ, ʻangerʼ, ʻsufferingʼ, ʻdisappointmentʼ; for waves – ʻaggressionʼ, ʻhateʼ, ʻfrenityʼ; for the sea – ʻscarsʼ, ʻlonelinessʼ, ʻstupid shawlʼ, ʻdestructionʼ. In the special semantic content of marine images in J. Conradʼs idiostyle, one could see the symbiosis of his practical experience as a ship captain and the subtle lyrical psychology of the romantic son of Podillia, which was organically represented by translators. The texts under study include the condensed marine personification – integrally intertwined in artistic and figurative expressions of integral metaphorical features of the main components of the sea and navigation. The prospects of future researches lie in comparison studies of linguostylistic instruments in English and in translated (Ukrainian) marine fiction.
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Kidder Hodges, Benjamin. "Future Clouds". Coolabah, n.º 34 (8 de julho de 2023): 112–20. http://dx.doi.org/10.1344/co202334112-120.
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This article uses diatoms and the role they play in cloud formation as a prompt to consider histories of weather modification in practice, science fiction and possible future applications to address climate change. Diatoms are a form of microalgae that are present in all waterways and contribute significantly to atmospheric oxygen. They also provide condensation nuclei around which water droplets form, effectively creating clouds. Such naturally occurring particulate matter interacts with intentional and unintentional anthropogenic influence on the atmosphere. The long history of folk speculation and scientific experimentation about effective ways of seeding clouds for rain can help us consider the potential impacts of new forms of atmospheric intervention. From the use of algae as a tool for bioremediation to marine cloud brightening techniques, a multiscalar ecological awareness needs to be publicly fostered in making choices about how to influence climate futures.
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Babu, Arathi, e Pius T.K. "Meat and Animal Identity in Manjula Padmanabhan’s The Island of Lost Girls". RESEARCH HUB International Multidisciplinary Research Journal 9, n.º 6 (30 de junho de 2022): 01–03. http://dx.doi.org/10.53573/rhimrj.2022.v09i06.001.
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Meat is concomitant with animals. Modern practices such as factory farming have separated the consumers from knowing about the origin of their source of meat and the conditions of animals in such farms. In Animal Studies, meat is a problematic term as it is always associated with the soulless meat of animals. Animal Rights theorists argue that even humans can be food for other beings but the dominant anthropocentric thinking of our times disallows them to be conceived as ecologically embodied beings. The Island of Lost Girls is a speculative fiction that figures several marine animals that are reduced to meat. The article probes the connection between the category of meat and animal identity, the hyperseparation of animals and humans and the anthropocentric thinking prevalent in the dystopian world of the novels using theories of animal rights activists such as Val Plumwood, Gary L. Francione and David Eaton.
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Totter, Eileen. "Star Trek: Lower Decks and utopian queer intimacy". Queer Studies in Media & Popular Culture 7, n.º 1-2 (1 de junho de 2022): 55–67. http://dx.doi.org/10.1386/qsmpc_00068_1.
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While the Star Trek franchise is synonymous with diversity, queerness has been unfortunately interpreted more as a tragic plot device rather than presenting fully realized queer characters in series such as Star Trek: The Next Generation and Star Trek: Deep Space Nine. However, the more recent programme Star Trek: Lower Decks appears to embrace Gene Roddenberry’s utopian ethos in that diversity is default in the future through multiple queer and queer-coded women. This article analyses how bisexual protagonist Ensign Beckett Mariner eventually finds support over the course of the series through her relationships with the characters Captain Amina Ramsey, Ensign D’Vana Tendi and Ensign Jennifer Sh’reyan. Unlike previous attempts at queer plots, the focal points in these moments emphasize character and community instead of violence and drama. This article proposes that Star Trek: Lower Decks signals a more positive shift in how queer characters are interpreted in the science fiction utopian franchise.
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VOLKOVA, E. S. "LIFE AFTER REFORMS: THE SURVIVAL PRACTICES IN THE RUSSIAN FAR EAST AT THE TURN OF XX-XXI CENTURIES IN THE MIRROR OF FICTION". Historical and social-educational ideas 10, n.º 3/1 (16 de julho de 2018): 46–57. http://dx.doi.org/10.17748/2075-9908-2018-10-3/1-46-57.
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Following the current trends in the development of historical science, the author considers fiction as an important source for the study of the post-Soviet period, allowing recreating the socio- historical types of behavior, way of thinking and public mood, to track the transformation of the structures of everyday life. The article is based on the fiction published from the early 1990s to the present day and reflected the Far Eastern realities of the 1990s-2000s. The main attention is paid to the ways of adaptation to the new socio-economic conditions, such as inflation and the fall in real money incomes, massive cuts and wage delays, privatization, the collapse of industrial enterprises, the destruction of social infrastructure, the income differentiation, and an increasing gap between more and less developed territories. Art works show how in crisis the Far East inhabitants are looking for opportunities for part- time work, change professions, working for hire, opening their own business or falling into the category of self-employed, use deviant and destructive forms of employment. Many people in the conditions of continuous growth of prices, delays in wages or lack of a permanent, well-paid place of work are accustomed to live without money, making purchases rarely, but using subsistence farming in dacha or vegetable garden, the interchange of goods and services, engaged in gathering, hunting, fishing (the aboriginal population returns to traditional marine mammal hunting). In addition, the Far East inhabitants react to the modified conditions by changing their demographic behavior. Horizontal public relations are being strengthened, mutual assistance are widely used in the circle of relatives and friends.
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Heinecke, Liz. "Provisions for Seven: Discovering Carol on the Sea of Cortez". Steinbeck Review 20, n.º 1 (junho de 2023): 91–100. http://dx.doi.org/10.5325/steinbeckreview.20.1.0091.
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Abstract In The Sea of Cortez, John Steinbeck mentions that the Western Flyer carried provisions for seven, but writes about only six crew members, including himself. The unmentioned passenger, hardly a ghost, was his first wife, Carol. A force of nature, she collected and preserved marine invertebrates with John and Ed Ricketts, joked and drank with the men, and thoroughly enjoyed herself. John and Carol separated shortly after the trip, and she left no written account of her adventures on the Sea of Cortez. Fortunately, the Steinbeck universe is populated by countless experts, documents, audio recordings, and artifacts that help fill the gaps in Carol’s story and allow one to imagine what her experience might have been. A visit to the Lab on Cannery Row and a trip to the Sea of Cortez helped to complete the picture as I wrapped up my research for a historical fiction novel about Carol’s experience aboard the Western Flyer.
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Kukulak, Szymon. "Two Faces of Mars". Polish Review 68, n.º 2 (1 de julho de 2023): 102–26. http://dx.doi.org/10.5406/23300841.68.2.09.
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Abstract This article elaborates on two depictions of Mars in Stanisław Lem's fiction, represented in Człowiek z Marsa [The Man from Mars, 1946] and “Ananke” (1971), focusing on the ties to literary tradition and contemporary scientific findings, which helps explain otherwise inexplicable features of the stories. In regard to The Man from Mars, the analysis reveals why Lem has decided to depart from the original evolutionary scenario envisioned by H. G. Wells for his Martians (with The War of the Worlds remaining the sole identifiable inspiration behind Lem's debut). Examination of the influence that contemporary astronomical findings regarding Mars (namely: its atmosphere, water, vegetation, or alleged Martian canals) had on works of Lem and other contemporary writers helps explain why he decided to include two conflicting depictions of the planet within the novel, but decided to present the reader with only one of those directly. In the case of “Ananke,” its pessimism is rooted in a short period of real-life skepticism regarding manned spaceflight, and alleged characteristics of the Red Planet, derived from early findings of the Mariner program.
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Fernández-Vidal, Duarte, e Ramón Muiño. "Fact or fiction? Assessing governance and co-management of Marine Reserves of Fishing Interest in Cedeira and Lira (NW Spain)". Marine Policy 47 (julho de 2014): 15–22. http://dx.doi.org/10.1016/j.marpol.2014.01.016.
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Dew, Spencer. "Cain. Fiction. By José Saramago. Translated from the Portuguese by Margaret Jull Costa. Boston: Mariner Books, 2011. Pp. 176. Paper, $14.95." Religious Studies Review 39, n.º 3 (setembro de 2013): 162–63. http://dx.doi.org/10.1111/rsr.12055_2.
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Maestrali, Antonia. "Des personnages-lecteurs aux élèves-lecteurs des Mémoires de deux Jeunes mariées : lire pour guider sa vie ?" L'Année balzacienne 24, n.º 1 (22 de janeiro de 2024): 299–315. http://dx.doi.org/10.3917/balz.024.0299.
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Cet article se propose de considérer Mémoires de deux jeunes mariées sous l’angle de l’influence des lectures sur la vraie vie. Il s’agit tout d’abord d’explorer et d’analyser les goûts littéraires de Louise et de Renée : en quoi leurs lectures correspondent-elles à leurs caractères et à leurs visions de la vie, de l’amour, du bonheur ? En quoi contribuent-elles à dessiner les figures d’une Louise passionnée et d’une Renée raisonnable ? Le questionnement sera ensuite déplacé pour se poser à l’échelle des élèves : quelle lecture peuvent-ils faire du roman de Balzac ? Autrement dit, que leur dit-on en leur faisant lire et étudier cette œuvre, qui pourrait ressembler à un roman à thèse à la morale bien austère, si l’on n’en faisait qu’une lecture hâtive ? Nous mettrons ainsi l’accent sur un enjeu essentiel de l’étude de ce roman : dépasser la tentation de l’antithèse simpliste pour appréhender toute la subtilité de l’œuvre, et entrevoir en quoi la lecture de fictions et la projection dans des personnages peuvent participer à aiguiser la réflexion sur sa propre vie et le sens qu’on veut lui donner.
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Deckard, Sharae, e Kerstin Oloff. "“The One Who Comes from the Sea”: Marine Crisis and the New Oceanic Weird in Rita Indiana’s La mucama de Omicunlé (2015)". Humanities 9, n.º 3 (19 de agosto de 2020): 86. http://dx.doi.org/10.3390/h9030086.
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Caribbean literature is permeated by submarine aesthetics registering the environmental histories of colonialism and capitalism. In this essay, we contribute to the emergent discipline of critical ocean studies by delineating the contours of the “Oceanic Weird”. We begin with a brief survey of Old Weird tales by authors such as William Hope Hodgson and, most famously, H.P. Lovecraft, who were writing in the context of a world still dominated by European colonialism, but increasingly reshaped by an emergent US imperialism. We explore how these tales are both ecophobic and racialized, teeming with fears of deep geological time and the alterity of both nonhuman life and non-European civilizations, and argue that they register the oil-fuelled, militarised emergence of US imperial naval dominance. Subsequently, we turn to Rita Indiana’s neo-Lovecraftian novel, La mucama de Omicunlé [Tentacle, trans. Achy Obejas 2019], set in the Dominican Republic, as a key example of the contemporary efflorescence of ecocritical New Weird Caribbean fiction. We explore how the novel refashions Oceanic Weird tropes to represent the intertwining of marine ecological crisis in an era of global climate emergency with forms of oppression rooted in hierarchies of gender, sexuality, race, and class.
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Lavocat, Françoise. "Espaces arcadiques". Études littéraires 34, n.º 1-2 (23 de fevereiro de 2004): 153–67. http://dx.doi.org/10.7202/007559ar.
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Résumé Cet article examine quelques réinterprétations du mythe d’Alphée et d’Aréthuse depuis l’Arcadia de Sannazar (1504) jusqu’aux opéras-ballets du début du XVIIIe siècle. Le motif des eaux, — plus particulièrement celui de la légende ovidienne de la course du fleuve amoureux sous la mer, depuis le cour du Péloponnèse jusqu’en Sicile —, a joué un grand rôle dans l’invention du mythe pastoral ; elle a permis de figurer le décentrement, l’idéalisation et l’universalisation de l’Arcadie géographique. L’Arcadia de Sannazar, où le trajet du narrateur, entre sa terre natale et l’Arcadie, suit la route sous-marine de l’Alphée, marque un infléchissement majeur du sens symbolique de la petite fable hydrographique. Lorsqu’elle est transposée sur la scène de théâtre, au début du XVIIe siècle, l’allégorie du lien invisible et de la profondeur se perd, tandis que l’Arcadie se résout de plus en plus à un pur décor. À travers les métamorphoses de la légende, il s’agit de montrer comment l’espace pastoral passe, à la fin de la Renaissance, d’un mode de représentation allégorique au régime de la fiction avant d’être recyclé dans l’univers de la féerie : ce qui se joue dans ce passage, c’est la disparition de l’Arcadie comme métaphore.
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Serada, Alesha Alesha. "The Obligatory Underwater Level: Posthuman Genealogy of Amphibian Human in Media". Corpus Mundi 2, n.º 2 (16 de julho de 2021): 35–56. http://dx.doi.org/10.46539/cmj.v2i2.41.
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Will humankind ever be able to live underwater? To answer this question from the perspective of visual media studies, I analyze narrative and expressive means used for positive representation of underwater experiences in several examples of screen media. My examples are principally different by origin and yet united by their highly enjoyable effect of immersion into underwater worlds. My primary focus is on Amphibian Man (1928), a cult early science fiction novel by Alexandr Belyaev adapted for screen in 1962 in the USSR.I also explore its unintentionally close contemporary reproduction in The Shape of Water (2016), which even led to accusations in plagiarism. The third example is a contemporary independent video game ABZU by Giant Squid (2016), which replays the same theme of amphibian human existence in a positive light. These cases present a surprisingly rare view of a safe, friendly and interactive marine world, approached by the protagonist who can breathe underwater. I apply the posthumanist lens to find out that, surprisingly, aquatic cyborgs seem to be underrated by the queer thought (Haraway, 2015, 2016); I conclude that the model of ‘queer ecologies’ may become the needed development.
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Nielsen, Hanne, e Elizabeth Leane. "‘Scott of the Antarctic’ on the German Stage: Reinhard Goering's Die Südpolexpedition des Kapitäns Scott". New Theatre Quarterly 29, n.º 3 (31 de julho de 2013): 278–93. http://dx.doi.org/10.1017/s0266464x13000468.
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Reinhard Goering's play Die Südpolexpedition des Kapitäns Scott (1929) tells the story of the famously tragic British polar expedition led by Robert F. Scott in 1911–12. As the first public staging of the story, the play created considerable controversy in Britain when it premiered in Berlin in 1930. A late Expressionist drama, it offered perspectives on the expedition quite different to those coming out of Scott's homeland. In this article, Hanne Nielsen and Elizabeth Leane contextualize the play within Goering's own career; outline its performance history; examine its reception in both Germany and Britain; and analyze the play text in terms of its innovative treatment of Scott's story. Hanne Nielsen is a postgraduate student at Gateway Antarctica, University of Canterbury. Her background is in Antarctic Studies and German literature and she is currently undertaking a study of representations of Antarctica on stage. Elizabeth Leane is a Senior Lecturer in English at the University of Tasmania, where she holds a research position split between the School of Humanities and the Institute of Marine and Antarctic Studies. She has written and edited several books, most recently Antarctica in Fiction (Cambridge University Press).
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Clyde, William C. "Strange Old World - Late Paleocene—Early Eocene Climatic and Biotic Events in the Marine and Terrestrial Record. Edited by Marie-Pierre Aubry, Spencer Lucas, and William Berggren Columbia University Press, New York. 1998. 513 pages." Paleobiology 25, n.º 3 (1999): 417–23. http://dx.doi.org/10.1017/s0094837300021370.
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In his 1932 book Brave New World, Aldous Huxley laid out a satirical blueprint of a future so strange to people of the time that it became a symbol of the frightening and unyielding momentum of scientific progress. Literature and popular culture have since been littered with images of a future earth so transformed by human progress (or extraterrestrial intervention) that we can hardly recognize it. Earth historians and paleontologists, however, have taken a different path into the bizarre. This group of time travelers has used the kind of technology that Huxley foreshadowed to recreate past worlds of similar disparity. These worlds are neither based on, nor entirely limited by, human imagination, but are based instead on scientific observation. In short, these strange old worlds are real, not imagined. As often is the case, however, truth can b e stranger than fiction.
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Turan Özgür Güngör. "Vengeance of Nonhuman Beings: An Ecocritical Reading of Samuel Taylor Coleridge’ Work, “The Rime of the Ancient Mariner”". International Journal of Social, Political and Economic Research 7, n.º 2 (2 de junho de 2020): 359–71. http://dx.doi.org/10.46291/ijospervol7iss2pp359-371.
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These days environmental issues are among the most commonly reported ones in the world. The dangerous effects of the environmental problems, which are as old as the history of humanity, began to be felt more profoundly after the Industrial Revolution. In former times the environmental problems were felt only at a local level with the destruction of forests in order to facilitate hunting places and clear lands for farming areas. After the Industrial Revolution the extent of the problem rose and reached the catastrophic disaster level with the extensive fossil fuel use. Nowadays, when environment problems come into question, many people prefer using the term environmental disaster in place of the term environmental problems. This term, environmental disaster, may be remarkable enough to discern the severity of the problem. The role of literature in reaching the public cannot be denied. Ecocriticism tries to make use of this ability of literature in setting forth and expressing environment problems. Since both fictional and non-fictional literature can reach many people, the works which concern with the environmental problems may be beneficial to raise awareness and contribute to inform many people all over the world about the severity of these problems. Creating awareness is an important issue since many people are not aware of the fact that the nature is destroyed by humans, and they neglect that the harm to nature causes the harm to humanity concurrently since there has always been an indissoluble bond between ecosystem and humans. Humans cannot be dissociated from the natural world. In this study, some brief information about human related environment disasters, social organizations which were established to fight for the rights of nonhuman beings in nature, the function of literature in creating awareness among human beings, the efforts of creating ecological reading and the emergence of ecocritical literary criticism will be given. After discussing Samuel Taylor Coleridge’s contribution to nature writing and Romanticism briefly, “The Rime of the Ancient Mariner” will be evaluated from an ecocritical perspective.
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Parker, Pamela Corpron. "Fictional Philanthropy in Elizabeth Gaskell's Mary Barton and North and South". Victorian Literature and Culture 25, n.º 2 (1997): 321–31. http://dx.doi.org/10.1017/s1060150300004812.
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Among the many anecdotes explaining Elizabeth Gaskell's entrance into the literary marketplace is one circulated by Travers Madge, a leading Manchester philanthropist. Gaskell allegedly told him that “the one strong impulse” to write Mary Barton came after visiting one particularly destitute laborer's cottage:She was trying hard to speak comfort, and to allay those bitter feelings against the rich which were so common with the poor, when the head of the family took hold of her arm, and grasping it tightly said, with tears in his eyes, “Ay, ma'am, but have ye ever seen a child clemmed to death?” (Hompes 131)While this anecdote ostensibly explains Gaskell's literary calling as a sacred duty and illustrates her expansive feminine sympathy, it also positions her work within the larger project of nineteenth-century philanthropy. As a lady visitor, she attempts to “speak comfort” and assuage working-class hostility toward the rich, but she finds herself in a discursive struggle with the workman, whose rough vernacular and even rougher hand threaten violence both to the lady and the narrative. Like the Ancient Mariner of Coleridge's poem, the nameless workman compels her to listen and accord him the authority that great suffering demands. He wrests the reader's attention away from the main figure of the anecdote, the benevolent “Mrs. Gaskell,” and renders her speechless — at least for a while. For it is his domestic tragedy which authorizes her literary vocation and enables her to present her work as a form of fictional philanthropy.
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Salvat-Leal, Inmaculada, Adriana A. Cortés-Gómez, Diego Romero e Marc Girondot. "New Method for Imputation of Unquantifiable Values Using Bayesian Statistics for a Mixture of Censored or Truncated Distributions: Application to Trace Elements Measured in Blood of Olive Ridley Sea Turtles from Mexico". Animals 12, n.º 21 (25 de outubro de 2022): 2919. http://dx.doi.org/10.3390/ani12212919.
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One recurring difficulty in ecotoxicological studies is that a substantial portion of concentrations are below the limits of detection established by analytical laboratories. This results in censored distributions in which concentrations of some samples are only known to be below a threshold. The currently available methods have several limitations because they cannot be used with complex situations (e.g., different lower and upper limits in the same dataset, mixture of distributions, truncation and censoring in a single dataset). We propose a versatile method to fit the most diverse situations using conditional likelihood and Bayesian statistics. We test the method with a fictive dataset to ensure its correct description of a known situation. Then we apply the method to a dataset comprising 25 element concentrations analyzed in the blood of nesting marine turtles. We confirm previous findings using this dataset, and we also detect an unexpected new relationship between mortality and strontium concentration.
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Bousfield, Derek, e Dan McIntyre. "Creative linguistic impoliteness as aggression in Stanley Kubrick’s Full Metal Jacket". Journal of Literary Semantics 47, n.º 1 (25 de abril de 2018): 43–65. http://dx.doi.org/10.1515/jls-2018-0003.
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Abstract Stanley Kubrick’s anti-war film Full Metal Jacket (1987) dramatically represents US Marine Corps basic training during the Vietnam War as both gruelling and brutalising. The brutal, linguistically aggressive and physically intimidating scenes purport to detail the dehumanising process that Marine Corps recruits were put through in preparation for combat during that period. In the film, the recruits are trained by Gunnery Sergeant Hartman, played by the actor R. Lee Ermey, who is himself an ex-Marine Corps drill instructor (1965–1967) and who also served in Vietnam in 1968. As a result of his experience as an instructor, Ermey was given free rein by Kubrick to write his own dialogue for the abusive barrack room and field training scenes in order to lend the drama an air of authenticity (see Ermey 2017). Within the fictional world of the film, the intense training and disciplinary regime ultimately causes one recruit, Private Leonard Lawrence, to crack psychologically. Private Lawrence is nicknamed ‘Gomer Pyle’ by Hartman upon their first meeting, this name being a direct allusion to the hapless character of the same name who was a US Marine recruit in the sitcom Gomer Pyle, U.S.M.C., which ran from 1964–1969 – contemporaneously with the time period in which Full Metal Jacket is set. This insulting allusion is merely the start of a long line of linguistically impolite/aggressive and ultimately physically aggressive interactions which Lawrence/Pyle suffers at the hands of Hartman, both directly and, later in the film as a result of Hartman’s orchestrations, from the other recruits. Under this unrelenting barrage of impoliteness, aggression, and abuse, Lawrence/Pyle eventually shoots Hartman dead before turning his rifle on himself and committing suicide. Thus, the film argues that the dehumanising effect of the basic training, which was ostensibly carried out to toughen up and mentally prepare conscripted recruits for combat in Vietnam, had a profound, brutalising and (potentially) utterly destructive effect on those subjected to it. In this article, we explore the creative linguistic aggression displayed by the character of Hartman. We focus particularly on the reasons underlying the creativity of Hartman’s impoliteness and aggression, and argue that these are essentially to foreground the seriousness of the training regime which the recruits must follow.
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Brillowski, Wojciech. ""Treasures from the Wreck of the Unbelievable" - archeologia jako element strategii artystycznej Damiena Hirsta". Artium Quaestiones 31, n.º 1 (20 de dezembro de 2020): 123–70. http://dx.doi.org/10.14746/aq.2020.31.5.
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The most important element of Damien Hirst's multimedia project "Treasures from the Wreck of Unbelivable" was the exhibition, presented from April 9 to December 3, 2017 in Venice, in the galleries of the Pinault Foundation in Punta della Dogana and Palazzo Grassi. It was completed by several book publications and a 90-minute film of the same title, made available globally on the Netflix online platform on January 1, 2018. The exhibition included over a hundred objects, mainly sculptures, made in various techniques and materials in a wide range of sizes. The film, stylized as a popular science documentary, presents the fictional story of their discovery and exploration at the bottom of the Indian Ocean, and their transport to Venice. It develops the main idea of the exhibition – a fictitious vision of the origin of these objects from an ancient wreck, filled with artistic collections, belonging to a fabulously rich ancient Roman freedman, with the significant name Cif Amotan II (anagram from “I am a fiction”). Realizing this fancy artistic vision, most of the works were made as if they had been damaged by the sea waves and overgrown with corals and other marine organisms. Hirst created a comprehensive and all-encompassing narrative using the principle of "voluntary suspension of unbelief," formulated by Samuel T. Coleridge. The artist sets himself and the viewer on a fantastic journey into the ancient past, taking up subjects central to his ouevre for decades: faith, relations of art and science, transience and death. He does this by means of numerous references to the artistic and mythological heritage of antiquity, not only Graeco-Roman, but also of other great cultures and civilizations.
Although the formal and technical aspects of the project will also be discussed, the main goal of the author is to analyze how Hirst used the knowledge of antiquity (classics) to create both the exhibition itself and the mockumentary. The artist made archeology an element binding his narrative together, showing in the film not only how artefacts were obtained from the bottom of the ocean. He also presented a number of tasks that scientists deal with at various stages of the project – from the first discovery, through interpretation and conservation, to the presenting at the museum-like exhibition. Of course, his purpose was not to create a study in the methodology of underwater exploration, but to reflect on the cognitive power of science examining remains of ancient times. By juxtaposing two possible attitudes towards relics of the past, i.e. the strict discipline of the scholar and the imagination of the treasure hunter, he concludes that narratives arising from them will both have the character of a mythical tale. The ontic status of the artefacts themselves, as the things of the past, left in a fragmentary state by the passage of time, sets all the stories related to them within the discourse of faith.
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Susilowati. "PERENCANAAN SRATEGIS PEMBANGUNAN OBJEK WISATA DAERAH DAN PENINGKATAN JUMLAH WISATAWAN (STUDI ANALISIS WISATA PANTAI KENJERAN SURABAYA)". Ekosiana Jurnal Ekonomi Syari ah 9, n.º 1 (18 de abril de 2022): 64–79. http://dx.doi.org/10.47077/ekosiana.v9i1.209.
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Abstract: : Tourism can be define dasa whole activity by people who do traveling to stay in one place out of the daily activities for not more than one year for leisure, business, and other purpose. Eco tourism as mentioned on UUNo.9 year1990, article16 as an objects groups for an attractive tourism can be defined as a unique travel at national park, forest and nature tourism. Bay tourism and marine tourism is apart of Eco tourism. Marine tourism development in generalis an effort for developing and using tourism object and marine tourism in Indonesian sea. The consumers behavior patterns from the tourist, they are not focus on leisure enjoying sun, sea and sand but change to higher tourism, that is enjoying the product or cultural creation and heritage. Than nature or ecotourism from one place to other country.This change need to betaken care with alot of development tourism product also promotion on government and self investor. Marine tourism activities will need a big investment, condition, and law.To handle all this complex problems with optimal,will need to arrange regulation in order using the potential of the sea for tourism activities in marine tourism development. Indonesia so rich with marine assets that can be use or oriented, so that the marine tourism development paradigm must be handle soon with the regulation from all parties, to explore all marine tourism potential through strategic planning with obeying the save principal. Keywords: Strategy, Planning, Development. Referensi A.Black,James.1999, Metodadan Masalah Penelitian Sosial, PT .Refika Aditama, Bandung. Butler R.1992. Alternative Tourism : The Thin Edgeofthe Wedge, dalam Smith dan Eadington (1992) Tourism Alternative, Potentials andProblemsinTheDevelopmentofTourism. Universityof Pensylavinia, Philadelphia. Analisis Jalur dan Strategi Pemasaran Kunjungan Wisman Sebelum dan Setelah Berkunjung ke Indonesia, Joko Darmoyo, www.budpar.go.id AttractingTourists, Traders, Investors, Strategi Memasarkan Clarke J & Godfrey K. 2000, The Tourism Development Handbook: A Practical Approach To Planning and Marketing. Continuum, London. Daerah di Era Otonomi Daerah. GramediaPustakaUtama, Jakarta. Litbang Kompas,2006 Dahuri.R,RaisJ; Ginting SP; Sitepu.2001, Pengelolaan Sumber Daya Wilayah Pesisir dan Lautan Secara Terpadu. PT.Pradnya Paramita,Jakarta. Fandeli, Chafid, 2002, Perencanaan Kepariwisataan Alam. Fakultas Kehutanan Universitas Gajah Mada. Pustaka Pelajar,Yogyakarta. Goeldner R, Ritchie B.R.J; McIntosh W.R.2000, Tourism: Principles, Practices, Philosophies. Jon Willey & Sons, Canada. Gramedia Pustaka Utama, Jakarta. Ristanto, Hari. 2002. Diktat Perencanaan Pariwisata. Manajemen Kepariwisataan, Sekolah Tinggi Pariwisata Bandung. Gunn C.1994, Tourism Planning; Basic, Conceptsand Cases,Taylor and Francis, USA. Inskeep Edward, 1998, Guide for local Authorities on Developing Sustainable Tourism .World Tourism Organization, New York Jurnal Online Kartajaya, Hermawan; Yuswohadi, Sunarto, 2005, Attracting Tourists,Traders ,Investors, Strategi Memasarkan Daerah di Era Otonomi Daerah. Kartajaya,Hermawan.,Yuswohadi,Sunarto,2005, Kotler, Bowen, Makens, 1999, Marketing For Hospitality And Tourism, 2nd Edition, Prentice-Hall,Inc.USA McInteyre George, 1993, Sustainable TourismDevelopment, Guide for Local Planners. World Tourism Organization. Midleton Victor T C. 1998. Sustainable Tourism : A Marketing Perspective .Buttenworth-Heinemann. Moleong J,Lexy. 1999, Metodologi Penelitian Kualitatif, Remaja Rosda karya, Bandung. Pariwisata Berkelanjutan : Prinsip-prinsip Pembangunan Pariwisata Berkelanjutan, Pusat Penelitian Kepariwisataan ITB, www.p2par.itb.ac.id Pengembangan Pariwisata Indonesia, Setyanto P. Santosa, 14 Pebruari 2002, http://kolom.pacific.net.id/ind/ Siklus Hidup Objek Wisata: Studi Kasus Pulau Simeulue dan Pantai Pangandaran, Fictor Ferdinand, Ssi; Yosep Purnama, 12 November 2004, www.aseanjournal.com SuDjana, 2002, Metoda Statistika, Tarsito, Bandung. Tjiptono, Fandy; 2000, Strategi Pemasaran, ANDI, Yogyakarta. Woodley, Alison.1993. Tourism and Sustainable Development : The Community Perspective. Department of Geography Series, Universityof Waterloo. WTO,WorldTourismOrganizationAgenda 2,1992.
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Mohanty, Sulagna. "NATIVE, NATURE AND NEGOTIATION: AN ECO-LITERAL STUDY OF CONCILIATION OF PAST AND PRESENT WITH REFERENCE TO LESLIE SILKO’S NATIVE AMERICAN FICTION GARDENS IN THE DUNES". Kongunadu Research Journal 4, n.º 1 (30 de junho de 2017): 41–45. http://dx.doi.org/10.26524/krj174.
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The indigenous cultures all over the world are strongly interwoven with a range of natural components. All these indigenous and aboriginal worlds including Native Americans are known for their holistic tradition as they love and revere a variety of ecological elements such as the Mother Earth, foliage, waterway, deep marine, and downpour. In the Native American fiction Gardens in the Dunes by Leslie Marmon Silko, the author weaves a spectacular narrative to convey the story of nature, home, mother, memory, exile, and return. Silko portrays this strong bonding while depicting the close relationship between Nature andvarious Native American characters. As the Native American culture believes in the deep bonding between its nature and its community members, their varied forms of farming and gardening become integral to their cultural identity. The recurrent recollections of Indigo’s mother, her Grandmother Fleet, Sister Salt, and above all, the image of the Old Garden represent the recreation and reconstruction of her cultural memory and its association with the Mother Nature. The protagonist Indigo’s love for gardens brings back the mythical memory of the Biblical ‘Garden of Eden’ which is the ‘Garden of God’ as described in the Book of the Genesis. The displacement of Indigo from her indigenous garden becomes a representation of the man’s dissociation from nature and Indigo’s homecoming to her native garden denotes man’s perpetual longing to reconcile with Mother Earth. Thus, this paper seeks to analyze the re-establishment of a negotiation between old and new, past and present and most importantly the man and the nature in the backdrop of colonization with reference to Gardens in the Dunes by Leslie Marmon Silko.
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Burroughs, Robert. "THE NAUTICAL MELODRAMA OFMARY BARTON". Victorian Literature and Culture 44, n.º 1 (28 de janeiro de 2016): 77–95. http://dx.doi.org/10.1017/s1060150315000431.
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In hisMemoirs of anUnfortunate Son of Thespis(1818), the actor Edward Cape Everard recalled a performance of Sheridan'sSchool for Scandalthat was interrupted in its third act by a rowdy bunch of sailors. At the sight of Charles Surface drinking, the sailors allegedly left the auditorium, entered the stage, and accosted the actor playing Charles, “exclaiming ‘My eyes, you're a hearty fellow! Come, my tight one, hand us a glass’” (qtd. in Russell 104). As apocryphal as the encounter seems, it is not the only account of mariners rushing the early-nineteenth century stage to join in with the drama. In her analysis of these anecdotes Gillian Russell comments that though they may have been intended to depict the sailor “as naïve and unsophisticated, unable to make the distinction between fiction and reality. . . it is not surprising that the sailor should have disregarded the rules of mimesis and the distinction between stage and auditorium” (104), for the sailor's life lent itself to, and was structured by, theatricality. Service in “the theatres of war,” or more generally in the “wooden world” of the ship, demanded strict performance of custom and ritual in the forging of social identities and relations, not least of all in the ritualistic initiation ceremonies and corporal punishments that were enacted in front of the amassed audience of the crew (Russell 139–57; see Dening). At sea and in dock sailors entertained themselves with amateur theatricals. On shore, they were keen theatre-goers, and in auditoriums and elsewhere they played up to the characteristics of the sailor in the brazen assertion of an identity that was celebrated in stories, songs, and plays, but frequently also belittled, bemoaned, and victimized, the latter particularly while the press gangs were active.
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Grushitskaya, Marina. "Impressionism in Pierre Loti’s “Madame Chrysanthème”". Ideas and Ideals 12, n.º 3-2 (23 de setembro de 2020): 305–13. http://dx.doi.org/10.17212/2075-0862-2020-12.3.2-305-313.
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Pierre Loti was a novelist and a marine officer who visited lots of countries. He gained popularity writing about his travels and travel impressions. This article analyses his travel to Nagasaki back in 1885 where he lived for half a year and had a ‘temporary wife’. His novel written during that travel is called “Madame Chrysanthème”. It’s one of his most extravagant and interesting pieces which made the author world-famous. It reflected common interest in the oriental life typical for that time and it predetermined the image of Japan in the European consciousness of the second half of the 19th century. Pierre Loti wrote about his ambition to make the novel as impressionist as possible determining impressionism not as an intellectual but as a decorative phenomenon related mostly to arts and translation of sensory perception. His interpretation of impressionism was expressed in “Madame Chrysanthème”, which is an attempt to describe the world around us, represented not only by the material world but by the author’s sensory perceptions and feelings. To be exact, this is impressionism in fiction. The world is a product of our sensory experience, and the author’s goal is to fix this experience, which is the sum of his observation and impressions. Pierre Loti creates his work where color plays the main role together with sounds and words. They are a sum total of the elements determining the reality in equal amounts. Stylistically “Madame Chrysanthème” is created according to impressionist canons, with lots of epithets, comparisons, metaphors, the author’s neologisms. The novel is written as a diary where separate episodes in chapters are separated from one another by large white empty gaps. The article discusses similarity of impressionism and the Japanese culture. However, a closer look demonstrates considerable differences between the European and the Oriental minds.
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Véron, Jacques. "Activité féminine et structures familiales. Quelle dépendance ?" Population Vol. 43, n.º 1 (1 de janeiro de 1988): 103–20. http://dx.doi.org/10.3917/popu.p1988.43n1.0120.
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Résumé Véron Jacques.— Activité féminine et structures familiales. Quelle dépendance ? De la hiérarchie des taux d'activité des femmes selon la situation familiale, de la moindre fécondité des femmes actives ou de la simultanéité entre transformation des structures familiales et explosion de l'activité féminine, est fréquemment inférée une relation de dépendance entre comportements sur le marché du travail et attitudes à l'égard du mariage ou de la famille. L'utilisation de données françaises conduit à nier l'existence d'une telle relation. Les recensements de 1962 et 1982 encadrent en France une période de changements remarquables : baisse de la nuptialité et de la fécondité; hausse de la divortialité d'une part, croissance de l'activité et disparition du « cycle traditionnel » d'activité d'autre part. Aucune relation de dépendance stricte ne peut être établie entre ces deux ordres de phénomènes. Le recours à une structure type montre qu'en l'absence de changements familiaux, les femmes auraient été, aujourd'hui, presque aussi souvent actives. Un modèle élémentaire de transferts (fictifs) entre sous-populations (des femmes mariées, fécondes et inactives vers les femmes célibataires, sans enfant et actives, par exemple) prouve qu'il ne saurait exister plus qu'une faible dépendance, quelle qu'en soit le sens, entre changements familiaux et désir accru d'exercer une profession.
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Fournier, Théo. "From rhetoric to action, a constitutional analysis of populism". German Law Journal 20, n.º 3 (abril de 2019): 362–81. http://dx.doi.org/10.1017/glj.2019.22.
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AbstractThe article considers populism not as common ideology but as a common strategy for implementing various distinct ideologies. Constitutional democracy and populist strategy are inherently connected. Populist strategies develop a specific rhetoric which takes root in the features of constitutional democracy. The populist rhetoric manipulates the rule-of-law and the majoritarian pillars of constitutional democracy by convincing a fictional majority that constitutional democracy gives rise to a tyranny of minorities. Populism in action represents the second facet of the populist strategy. It corresponds to a specific constitutional strategy of legal and constitutional reforms aiming at disrupting constitutional democracy. After exposing my theoretical assumption, I move to a comparative study of two countries, France and Hungary, selected according to the most different cases approach. I analyze first how Viktor Orban based his constitutional strategy on a progressive deconstruction of the post-communist legacy. I study then how Marine le Pen’s strategy consisted of a comprehensive reform of the French semi-presidential system via referendum. I finally conclude by recalling the essential role academics have to play in the fight against populism. My last point is a provocation, what if calling populism by its real diversity (fascism, racism and antisemitism) was the most efficient way to fight them?
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P, Johnson. "Elements of Life of the Pandvar People in the Novel Korkai". International Research Journal of Tamil 4, S-7 (30 de julho de 2022): 305–11. http://dx.doi.org/10.34256/irjt22s749.
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Joe D. Cruz titled the novel Korkai, which travels through time more than a century. Korkai is an ancient port city ruled by the Early Pandyan Kingdom. It tells the long history of the Pandavas of Tuticorin. It is also a great resource to learn about the life of the marine fisher folk. This book, which accurately and artistically explains the changes brought about in the Bharatava society by the domination of foreigners, the arrival of Christianity, the liberation struggles, the changes that took place in independent India, and the arrival of modernity, is also a document that includes all the elements of a race's identity, culture, life, and history. The events of the novel begin in 1914 and conclude in the year 2000. During this period, over two hundred Pandavar social men of Korkai came and went over four generations. The story is shaped by the subtle depiction of various events and different faces of people, as well as the astonishing spheres of change. This novel tells the stories of three generations of thirty thousand families through the language of the coast as a beautiful fiction about the changes in the lives of the people who own the woven land after European arrival. It starts with the death of the Pandava community leader and unfolds before us countless scenes before the flood of eighty-six years and ends with the death of the character Philip. The novel not only talks about the people but also the social, economic, and cultural changes that took place during these times. After the Portuguese and the British left the country and the native government came, the ‘Korkai’ novel is an excellent source to explore how the Pandava community that lived in Korkai established itself and cane beyond the flood of time. The purpose of this article is to identify the richness of the woven land, the pride, the valor, characteristics, beliefs, elements of worship, and the activities that hinder the development and progress of the people of the maritime people.
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Shutemova, Natalia V. "GENRE CHARACTERISTICS OF UNESCO STATEMENTS OF OUTSTANDING UNIVERSAL VALUE OF WORLD HERITAGE SITES IN THE LINGUOSTYLISTIC ASPECT". Вестник Пермского университета. Российская и зарубежная филология 12, n.º 2 (2020): 52–62. http://dx.doi.org/10.17072/2073-6681-2020-2-52-62.
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The paper considers a Statement of Outstanding Universal Value of World Heritage Sites, which is one of the most important of UNESCO documents. The research is aimed at studying its genre characteristics both in terms of form and content. They are illustrated in the paper through the example of the Statement of Outstanding Universal Value of the Galapagos Islands, being one of the major sites on the UNESCO list. Based on discourse analysis of the text, the following interrelated characteristics of its genre have been distinguished: typical content, rigid composition, informativeness, intertextuality, accuracy, laconicism, clarity, persuasiveness, argumentativeness, axiology, expressiveness, imagery, rhetoricalness. The unity of these features distinguishes this genre from others and is determined by extralinguistic factors: the Statement of Outstanding Universal Value is aimed at describing and proving the unique value of the archipelago. The research shows that the genre is characterized by typical content which is developed coherently in accordance with the standard composition of the format. It contains factual, conceptual, and implicit information. To prove the outstanding universal value of the site, both factual and axiological arguments are used. The verbal representation of these features is characterized, on the one hand, by lingual units used in accordance with literary norms and direct meaning, as well as by precision lexicon. On the other hand, it is characterized by metaphors and evaluative lexicon. The key metaphor representing the essence of the archipelago in the document is that of ‘a unique living museum and showcase of evolution’. It is developed through the document in a wide range of contextual evaluative synonyms, epithets, rows of homogeneous phytonyms and zoonyms depicting the variety and special character of the flora and fauna of the Galapagos Islands and the Galapagos Marine Reserve, their unique seismic, volcanic, biological, ecological, geological, evolutionary processes. The intertextuality of the document means its connection with a wide range of the UN documents, as well as fiction, mass media, science.