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1
Engisch, Patrik. "Patchwork Puzzles and the Nature of Fiction". Estetika: The European Journal of Aesthetics 56, n.º 1 (1 de março de 2019): 28. http://dx.doi.org/10.33134/eeja.182.
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Bissell, Blake, Mo Morris, Emily Shaffer, Michael Tetzlaff e Seth Berrier. "Vessel: A Cultural Heritage Game for Entertainment". Archiving Conference 2021, n.º 1 (18 de junho de 2021): 1–6. http://dx.doi.org/10.2352/issn.2168-3204.2021.1.0.2.
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Museums are digitizing their collections of 3D objects. Video games provide the technology to interact with these objects, but the educational goals of a museum are often at odds with the creative forces in a traditional game for entertainment. Efforts to bridge this gap have either settled on serious games with diminished entertainment value or have relied on historical fictions that blur the line between reality and fantasy. The Vessel project is a 3D game designed around puzzle mechanics that remains a game for entertainment while realizing the benefits of incorporating digitized artifacts from a museum. We explore how the critical thinking present in solving puzzles can still encourage engagement of the story the artifacts have to tell without creating an historical fiction. Preliminary results show a preference for our in-game digital interaction over a traditional gallery and a desire to learn more about the artifacts after playing.
3
Stowe, Simon. "Who Betrays Elizabeth Bennet?: Further Puzzles in Classic Fiction (review)". Philosophy and Literature 24, n.º 2 (2000): 480–82. http://dx.doi.org/10.1353/phl.2000.0047.
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Leitch, Thomas. "The Many Pasts of Detective Fiction". Crime Fiction Studies 1, n.º 2 (setembro de 2020): 157–72. http://dx.doi.org/10.3366/cfs.2020.0018.
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Building on Tzvetan Todorov's observation that the detective novel ‘contains not one but two stories: the story of the crime and the story of the investigation’, this essay argues that detective novels display a remarkably wide range of attitudes toward the several pasts they represent: the pasts of the crime, the community, the criminal, the detective, and public history. It traces a series of defining shifts in these attitudes through the evolution of five distinct subgenres of detective fiction: exploits of a Great Detective like Sherlock Holmes, Golden Age whodunits that pose as intellectual puzzles to be solved, hardboiled stories that invoke a distant past that the present both breaks with and echoes, police procedurals that unfold in an indefinitely extended present, and historical mysteries that nostalgically fetishize the past. It concludes with a brief consideration of genre readers’ own ambivalent phenomenological investment in the past, present, and future each detective story projects.
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Solanich Sanglas, Irene. "Interactive and transmedia narratives in crime fiction for teaching literature". Obra digital, n.º 25 (28 de junho de 2024): 41–53. http://dx.doi.org/10.25029/od.2024.406.25.
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The plots of soft-boiled novels usually offer a game of riddles and puzzles that challenge the reader. That is why it has been easier for structures to be adapted to new dimensions. Through interactive literature and transmedia narrative, the aim is to explore how this genre has been transferred to other works in different formats. The study will address some concrete examples to finally show the design of an interactive and transmedia product with the purpose of teaching literature to high school students. The research does not aim to show a learning process but the design and development of a game to learn.
6
Foakes, R. A. "Can Jane Eyre Be Happy? More Puzzles in Classic Fiction John Sutherland". Nineteenth-Century Literature 53, n.º 2 (setembro de 1998): 245–48. http://dx.doi.org/10.2307/2902985.
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Foakes, R. A. ": Can Jane Eyre Be Happy? More Puzzles in Classic Fiction . John Sutherland." Nineteenth-Century Literature 53, n.º 2 (setembro de 1998): 245–48. http://dx.doi.org/10.1525/ncl.1998.53.2.01p0020e.
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Kim, Hee-sun. "Reinterpretations of James Hogg: His Bloody Project and The Testament of Gideon Mack". Convergence English Language & Literature Association 7, n.º 3 (31 de dezembro de 2022): 119–39. http://dx.doi.org/10.55986/cell.2022.7.3.119.
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James Hogg's The Private Memoirs and Confessions of a Justified Sinner(1824) is often mentioned as an ambiguous work that deals with religious mania and split personality. Also, his story becomes more like open puzzles in crime fiction through gothic and metafictional techniques. Beneath his complicated contents and forms, however, we need to find Hogg's political and cultural intentions. From a long time ago, Scottish mysticism has been suppressed by the government and authentic religion. His intentional use of antinomianism is a pretext to address the independent and undaunted spirit of Scottish people whose faith is close to fatalism. The reinterpretations of his work by contemporary novelists reveal the author's original intentions well.
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Konstantakos, Ioannis M. "Board Games in Ancient Fiction: Egypt, Iran, Greece". Board Game Studies Journal 16, n.º 1 (1 de abril de 2022): 449–90. http://dx.doi.org/10.2478/bgs-2022-0016.
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Abstract Board games are often used as a plot motif in modern genre fiction, especially in detective and adventure stories. In these types of narrative, a well-known pattern of storytelling or literary structure (e.g., the treasure hunt, the detection of serial crimes, the iniatory course, or the medieval tale collection) is reworked and adapted to the rules and phases of a board game such as chess, jeu de l’oie, or the tarot card pack. This literary practice is very ancient and may be traced back to a number of novelistic compositions of the ancient Near East, dating from the 1st millennium BC to late antiquity. In the Demotic Egyptian Tale of Setne Khaemwaset, from the Saite period, the protagonist Setne plays a board game (probably senet) with the mummy of a long dead and buried magician, in order to gain a powerful book of spells. The widespread Near-Eastern story-pattern of the magical competition is here superimposed on the procedure of a celebrated Egyptian game. In a late Hellenistic Greek novella inspired by the Odyssey (Apion of Alexandria, FGrH 616 F36) Penelope’s suitors play an elaborate game of marbles (petteia) in order to determine which one of them will marry the queen. This is a playful rewriting of the famous bow contest of the Homeric epic. A Sasanian novelistic work, the Wizārišn ī čatrang, adapts the age-old legend of the riddle contest of kings; the riddles are replaced with board games (chess and backgammon), which the opponents invent and propose to each other as difficult puzzles for solution. In all these texts the board game becomes a central symbol of the transformative and innovative power of literary narrative.
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Konstantakos, Ioannis M. "Board Games in Ancient Fiction: Egypt, Iran, Greece". Board Game Studies Journal 16, n.º 1 (1 de abril de 2022): 449–90. http://dx.doi.org/10.2478/bgs-2022-0016.
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Abstract Board games are often used as a plot motif in modern genre fiction, especially in detective and adventure stories. In these types of narrative, a well-known pattern of storytelling or literary structure (e.g., the treasure hunt, the detection of serial crimes, the iniatory course, or the medieval tale collection) is reworked and adapted to the rules and phases of a board game such as chess, jeu de l’oie, or the tarot card pack. This literary practice is very ancient and may be traced back to a number of novelistic compositions of the ancient Near East, dating from the 1st millennium BC to late antiquity. In the Demotic Egyptian Tale of Setne Khaemwaset, from the Saite period, the protagonist Setne plays a board game (probably senet) with the mummy of a long dead and buried magician, in order to gain a powerful book of spells. The widespread Near-Eastern story-pattern of the magical competition is here superimposed on the procedure of a celebrated Egyptian game. In a late Hellenistic Greek novella inspired by the Odyssey (Apion of Alexandria, FGrH 616 F36) Penelope’s suitors play an elaborate game of marbles (petteia) in order to determine which one of them will marry the queen. This is a playful rewriting of the famous bow contest of the Homeric epic. A Sasanian novelistic work, the Wizārišn ī čatrang, adapts the age-old legend of the riddle contest of kings; the riddles are replaced with board games (chess and backgammon), which the opponents invent and propose to each other as difficult puzzles for solution. In all these texts the board game becomes a central symbol of the transformative and innovative power of literary narrative.
11
Parvulescu, Constantin. "The Political and Economic Intervention of Non-Fiction Money Literacy Film in the Post-2008 Era". Canadian Journal of Film Studies 30, n.º 1 (abril de 2021): 49–71. http://dx.doi.org/10.3138/cjfs-2020-0034.
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L’auteur livre la première analyse critique des illustrations contemporaines de la notion d’argent dans le cinéma documentaire et en indique l’argumentaire prédominant. L’analyse porte sur des films de littératie financière comme The Ascent of Money: A Financial History of the World (Adrian Pennick, 2009), Money and Life (Katie Teague, 2013), Money Puzzles (Michael Chanan, 2016) et Blockchain City (Ian Kahn, 2018). Elle révèle la réflexion politique et économique qui nourrit la perspective dans laquelle la question monétaire est envisagée dans le film, la façon dont y est racontée l’histoire de l’argent et décrit son rôle dans la société après 2008, et ses conclusions plaident pour une amélioration de la performance du système monétaire. Les constructions narratives, les méthodes d’enquête, la distribution des rôles, les métaphores visuelles et auditives, et les auditoires implicites de ces films sont examinés. L’auteur emploie dans son analyse trois variables complexes qui concourent à dépeindre l’angle économique et politique de chaque œuvre : niveau de formalisme, construction de l’expertise et interprétation de la crise financière.
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Huang, Yunte. "The Lasting Lure of the Asian Mystery". PMLA/Publications of the Modern Language Association of America 133, n.º 2 (março de 2018): 384–87. http://dx.doi.org/10.1632/pmla.2018.133.2.384.
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Among the numerous accolades and awards garnered by viet thanh nguyen's debut novel, the sympathizer (2015), the one receiving the least attention from academic critics will probably be the Edgar Award, bestowed by the Mystery Writers of America. After all, The Sympathizer boasts aesthetic achievements that far exceed the generic confines of a conventional mystery novel. Also, even in the age of cultural studies, when the divide between the popular and the elite is supposed to have all but disappeared, literary scholars, if they are honest with themselves, still hang on to the notion that there is a qualitative difference, or a hierarchy, separating literary fiction from crime fiction, the highbrow from the lowbrow. It may be true that we no longer live at a time when an eminent critic like Edmund Wilson would attack mystery novels by asserting, as he did in 1945, partly in response to Agatha Christie's popular mystery novel The Murder of Roger Ackroyd, that “with so many fine books to read …; there is no need to bore ourselves with this rubbish” (qtd. in Bradford 117). And there is more than half a century separating us from the era when Ross Macdonald, one of the most accomplished practitioners of the mystery genre as well as a trained literary scholar, lamented in his 1954 lecture at the University of Michigan, Ann Arbor, where he had received a doctoral degree in English, that “[t]hough it is one of the dominant literary forms of our age, the mystery has received very little study” (11). Even after Jacques Lacan and Jacques Derrida enshrined Edgar Allan Poe's detective short story “The Purloined Letter” as a darling of poststructuralist analysis, most literary scholars worth their salt would continue to regard crime fiction as a subpar genre, something that, as Macdonald said, is reserved for their leisure hours, akin to crossword puzzles in a newspaper (11). Or, as Wilson put it, “Who cares who killed Roger Ackroyd?” (qtd. in Bradford 117).
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Rosana Nyabuto, Christopher. "Game of Code: Challenges of Cyberspace as a Domain of Warfare". Strathmore Law Review 3, n.º 1 (1 de junho de 2018): 49–72. http://dx.doi.org/10.52907/slr.v3i1.102.
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The military capabilities that the world witnesses in modern day armed conflicts are a sort of science fiction brought to life. Most of the techniques in cyber warfare were never thought possible, let alone anticipated in times past especially during the framing of key International Humanitarian Law (IHL) instruments. This paper analyses the challenges that cyber warfare poses to state responsibility. The analysis also discusses how the anonymity of parties in cyber warfare presents challenges to the application of existing law. The rationale for this study is the fact that cyberspace as a domain of warfare is still in its early days despite the many ambiguities and puzzles it has sparked in various circles of discussion. The study relies on literature reviews and case studies to make its salient points. Ultimately, the study argues that cyber warfare is subject to IHL; however, it breeds new possibilities that may require greater adherence to consistent legal review of weapons and greater willingness of the international community to apply IHL to this domain of warfare.
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Bell, Thomas. "Lewitscharoff’s Blumenberg – the Metaphorical Lion as an Image of Transcendent Possibility". Literatur für Leser 40, n.º 1 (1 de janeiro de 2017): 1–14. http://dx.doi.org/10.3726/lfl012017k_1.
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In Blumenberg (2011), Sibylle Lewitscharoff – winner, in 2013, of the Georg-Büchner-Preis – presents a philosophy professor who regularly perceives a lion’s presence. For example, while delivering one of his lectures, “als er von seinen Karten hochblickte, sah er ihn [the lion]”.1 This arresting statement raises many questions. What exactly does the professor see? Do his students, likewise, observe this magnanimous animal sitting awkwardly in the lecture hall? No, they do not. Where then is this animal; what is its origin? This puzzles us, the readers, as much as it does the rationally minded philosopher. As we read the text, we, along with the professor, ask ourselves why we are taking this seriously; we are reading about an “absurd” occurrence in a fictional text. What does this have to do with reality? Lewitscharoff’s novel, I would suggest, uniquely complicates reality. Her text plays with the sentiment that twenty-first century readers and thinkers are still mystified about the irrational and the religious within the real. This persistent interest in understanding the presence (or absence) of the illogical – the unexplainable – in the modern world receives form in and through the picture Lewitscharoff’s novel projects. Lying between fiction and reality, the lion – the dominant picture textually engendered – demands, therefore, interpretation. This lion, I assert, is a linguistically constructed image stemming from the mind of the fictional Blumenberg who lives and teaches philosophy in the provincial German city of Münster. Lewitscharoff bases the fictional Blumenberg off the historical Hans Blumenberg, in whom she showed initial interest in her fictional autobiography Apostoloff (2009), where she referred to him as a “Löwenphilosoph.”2 This philosopher, fascinated with lions, propagated, in one of his seminal works, various paradigms for understanding metaphors, Paradigmen zu einer Metaphorologie (1997).3 Employing this philosopher, whose inquiries concerned investigations into the nature of a metaphor, Lewitscharoff’s narrator explores how her protagonist creates an image that actualizes one of Hans Blumenberg’s unique paradigms, namely an “absolute metaphor,” indicative, in this novel, of transcendent possibility. To provide clarity at the outset of this article, I will use “Hans Blumenberg” when referring to the historical philosopher, who lived from 1920 to 1996, and “Blumenberg” when discussing the fictional character.
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Intan, Tania. "KOMPARASI BUDAYA JEPANG DAN PRANCIS MELALUI KOMIK DETEKTIF". Jurnal Bahasa Rupa 2, n.º 1 (28 de outubro de 2018): 25–33. http://dx.doi.org/10.31598/bahasarupa.v2i1.214.
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Psychologically, humans have a tendency to love reality and fiction because of life in between. With its unlimited imagination, humans can choose the preferred model of reality or fiction. If he chooses to be a good observer, a good and patient guesser in waiting for answers to important questions, the detective story can be an interesting reading alternative. In general, the detective story developed along with the rapid urbanization as a result of the industrial revolution. Life in big cities becomes insecure because of the increasing population density, unemployment, poverty and crime. To be able to reduce the saturation and tension experienced everyday, the public also entertain themselves with reading. Apparently people love reading about mysterious or even frightening events, because it always ends with a rational explanation of the various puzzles that cling to the reading. The crime-themed book makes readers familiar with the presence of criminals and law enforcers who are hunting him. Comics also called 'image literature', can also be a medium of telling of crimes favored by various circles. In this paper, we will discuss the phenomenon of the existence of detective comics in France and Japan with cultural comparative methods and studied with relevant theories. The results showed that because they came from different cultural backgrounds and published times, several things were found that showed differences between French and Japanese detective comics, including those related to characterization, public, story and cultural backgrounds, and comic formats. While the things that are common among them are the profession of detective figures who work more independently and prominently, and the presence of local police who are supportive of the character's movements, despite the fact that they often arrive late at the scene.
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Thomas, Deborah A. "THACKERAY, CAPITAL PUNISHMENT, AND THE DEMISE OF JOS SEDLEY". Victorian Literature and Culture 33, n.º 1 (março de 2005): 1–20. http://dx.doi.org/10.1017/s1060150305000707.
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VANITY FAIRIS A NOVEL OF ENIGMAS. In particular, after finishing the book, readers have often wondered why Thackeray refuses to tell us clearly whether or not Becky actually kills Joseph Sedley in chapter 67–a question recently given prominence by John Sutherland as one of the “Great Puzzles in Nineteenth-Century Literature” (66–72). The explanation most commonly given for Thackeray's evasiveness on this point is that such unanswered questions inVanity Fairare part of the artistry of this unconventional work of fiction, a book that A. E. Dyson has described as “surely one of the world's most devious novels” (76). This view ofVanity Fairas a novel of narrative legerdemain–intended to keep the reader constantly alert and pondering what is being shown (or concealed)–is certainly true. However, an additional possible explanation for Thackeray's ambiguity on the subject of Jos's death also ought to be considered. This explanation lies in Thackeray's horrified reaction to the public execution of François Benjamin Courvoisier on 6 July 1840. The echoes between Thackeray's appalled description of the events of that morning and his subsequent famous novel suggest that he privately conceived of Becky as murdering Jos. The echoes also suggest that one reason why Thackeray handled this fictional murder obliquely is that, by the time of writingVanity Fair, he had come to believe that, although executions might occur, they should not take place in public. Exploring the subtle connections between Thackeray's profound revulsion at the death of Courvoisier and Thackeray's later treatment of Jos's death gives deeper meaning to the intentional ambiguities in chapter 67. These connections make the ambiguities surrounding the death of Jos part of a widespread debate over capital punishment in the 1840s and have significant ramifications in terms of the parallel between public executions and pornography and with regard to the role of Becky in this novel.
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Franzén, Nils. "A Sensibilist Explanation of Imaginative Resistance". Canadian Journal of Philosophy 51, n.º 3 (abril de 2021): 159–74. http://dx.doi.org/10.1017/can.2021.10.
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AbstractThis article discusses why it is the case that we refuse to accept strange evaluative claims as being true in fictions, even though we are happy to go along with other types of absurdities in such contexts. For instance, we would refuse to accept the following statement as true, even in the context of a fiction: (i) In killing her baby, Giselda did the right thing; after all, it was a girl.This article offers a sensibilist diagnosis of this puzzle, inspired by an observation first made by David Hume. According to sensibilism, the way we feel about things settles their evaluative properties. Thus, when confronted with a fictional scenario where the configuration of non-evaluative facts and properties is relevantly similar to the actual world, we refuse to go along with evaluative properties being instantiated according to a different pattern. It is the attitudes we hold in the actual world that fix the extension of evaluative terms, even in nonactual worlds. When engaging with a fiction, we (to some extent) leave our beliefs about what the world is like behind, while taking our emotional attitudes with us into the fiction.To substantiate this diagnosis, this paper outlines a sensibilist semantics for evaluative terms based on recent discussion regarding predicates of personal taste, and explains how, together with standard assumptions about the nature of fictional discourse, it makes the relevant predictions with respect to engagement with fictions.
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Brooke, M. H. "Fiction: The puzzler". Neurology 62, n.º 11 (7 de junho de 2004): 2140–42. http://dx.doi.org/10.1212/01.wnl.0000127709.85765.a3.
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Dobrescu, Caius. "Identity, Otherness, Crime: Detective Fiction and Interethnic Hazards". Acta Universitatis Sapientiae, Philologica 5, n.º 1 (1 de julho de 2013): 43–58. http://dx.doi.org/10.2478/ausp-2014-0004.
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Abstract The topic of Otherness has been investigated from the point of view of popular culture and popular fiction studies, especially on the basis of the multiracial social environments of the United States. The challenges of addressing real or potential conflicts in areas characterised by an ethnic puzzle are to some extent similar, but at the same time differ substantively from the political, legal, and fictional world of “race.” This paper investigates these differences in the ways of overcoming ethnic stereotyping on the basis of examples taken from post-World War II crime fiction of Southern Europe, and Middle East. In communist and post-communist Eastern Central Europe there are not many instances of mediational crime fiction. This paper will point to the few, although notable exceptions, while hypothesizing on the factors that could favor in the foreseeable future the emergence and expansion of such artistic experiments in the multiethnic and multicultural province of Transylvania.
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Lycan, William G. "METAPHYSICS AND THE PARONYMY OF NAMES". American Philosophical Quarterly 55, n.º 4 (1 de outubro de 2018): 405–19. http://dx.doi.org/10.2307/45128634.
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Abstract Paronymy—ambiguity that is not sheer ambiguity—is underdiscussed by philosophers of language. And hardly anyone has noticed that proper names are paronymous; different occurrences of a single name have slightly and subtly different referents. This paper invokes that fact to illuminate some issues in metaphysics: a puzzle about fictional characters; Jennifer Saul’s phenomenon of referential opacity in the absence of opacity-inducing operators; the relation between persons and bodies; death; personal identity through time; and Peter Ludlow’s argument for the zany claim that the distinction between fiction and actuality is merely contextual.
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Schmidt, Erik Wolfgang. "Crossing Over: Rauschenberg, Kafka, and the Boundaries of Imagination". Aesthetic Investigations 1, n.º 2 (20 de dezembro de 2016): 214–26. http://dx.doi.org/10.58519/aesthinv.v1i2.11990.
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How do we make sense of something we don’t recognize? This topic raises an important background question: how do we recognize or come to imaginatively experience the subject that a work of art or fiction presents to us? When philosophers address this topic they often assume the act of experiencing or recognizing something through that work is directly under a reader or viewer’s control. The imaginative act, they tell us, is something that a viewer or reader does with the material presented by a given work. This limits the scope of what we might fail to recognize to cases of ambiguity or under-determination. I suggest that this approach ignores the way in which some works of art or fiction puzzle us not because their content is ambiguous but because they frustrate the imaginative act itself. They do this by making it difficult to navigate the imaginary space a fictional object might occupy. To develop this claim I closely examine several works by Robert Rauschenberg and Franz Kafka and suggest that they undermine the common assumption that the activity of imaginatively engaging a work of fiction is under our control. I conclude by suggesting some implications this lack of control might have for two prominent debates related to the activity of recognizing or experiencing something through an engagement with a work of fiction.
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Friend, Stacie. "Fiction and Emotion: The Puzzle of Divergent Norms". British Journal of Aesthetics 60, n.º 4 (9 de abril de 2020): 403–18. http://dx.doi.org/10.1093/aesthj/ayaa010.
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Abstract A familiar question in the literature on emotional responses to fiction, originally put forward by Colin Radford, is how such responses can be rational. How can we make sense of pitying Anna Karenina when we know there is no such person? In this paper I argue that contrary to the usual interpretation, the question of rationality has nothing to do with the Paradox of Fiction. Instead, the real problem is why there is a divergence in our normative assessments of emotions in different contexts. I argue that explaining this divergence requires a more nuanced account of the rationality of emotion than has previously been proposed. One advantage of my proposal over alternatives is that it helps to explain one way we can learn emotionally from fiction and imagination.
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Gilmore, Dehn. "“THESE VERBAL PUZZLES”: WILKIE COLLINS, NEWSPAPER ENIGMAS, AND THE VICTORIAN READER AS SOLVER". Victorian Literature and Culture 44, n.º 2 (10 de maio de 2016): 297–314. http://dx.doi.org/10.1017/s1060150315000637.
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In 1861, in a reviewof Wilkie Collins'sThe Woman in White, a critic for theSpectatorcomplained that, “We are threatened with a new variety of the sensation novel … the whole interest of which consists in the gradual unraveling of some carefully prepared enigma” (“The Enigma Novel” 20). He was hardly the only reviewer to use a vocabulary of “puzzlement” or “enigma” when discussing Collins's work. Whether we look to an earlier review ofThe Woman in Whiteto find Collins faulted as “not a great novelist … the fascination which he exercises … [is] that he is a good constructor. Each of his stories is a puzzle, the key to which is not handed to us till the third volume” (Rev. ofThe Woman in White249) – or whether we turn to a critic ofThe Moonstone, who found Collins and his latest production “[un]worthy”: “We are no especial admirers of the department of art to which he has devoted himself, any more than we are of double acrostics or anagrams, or any of the many kinds of puzzles on which it pleases some minds to exercise their ingenuity” (Page, ed. 171–72) – we come up against the fact that Collins's novels, and especially his sensation novels, were sometimes known as “enigma novels” in the Victorian period. We can see too that this was not necessarily intended as a complimentary label. Indeed, though our own contemporary tendency has been to employ this particular moniker in a more neutral, descriptive register – to denote simply some fictions' reliance on mystery – we quickly find that Victorian reviewers were not so dispassionate in their usage. Instead, tracking names like “conundrum novel” or “enigma novel,” and terms like “puzzle,” “enigma,” and even “anagram,” shows that Collins's critics often used such phrases to index some of the same kinds of problems or concerns they more familiarly described with a rhetoric of “sensation.” A short survey suggests that their language of “puzzles” and “enigmas,” like their language of shocks and nerves, expressed disappointment at Collins's tendency to create anticlimaxes (the novel fizzles when the “puzzle” is solved); his emphasis on plot – or “carefully prepared enigma[s]” – over character; and his potential to render readers amoral and passive – patient attendants of solutions (“the key to which is not handed to us”) – rather than creatively engaged thinkers or moral questers. A simple nickname would seem to be a damning label indeed, on fuller survey.
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Koos, Leonard R. "Georges Perec: P or the Puzzle of Fiction". Yale French Studies, n.º 75 (1988): 185. http://dx.doi.org/10.2307/2929368.
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Karhulahti, Veli-Matti. "Fiction Puzzle: Storiable Challenge in Pragmatist Videogame Aesthetics". Philosophy & Technology 27, n.º 2 (30 de agosto de 2013): 201–20. http://dx.doi.org/10.1007/s13347-013-0117-8.
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Maier, Emar. "Fictional Names in Psychologistic Semantics". Theoretical Linguistics 43, n.º 1-2 (1 de janeiro de 2017): 1–45. http://dx.doi.org/10.1515/tl-2017-0001.
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AbstractFictional names pose a difficult puzzle for semantics. How can we maintain that Frodo is a hobbit, while admitting that Frodo does not exist? To dissolve this paradox, I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (
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Husam Jaber, Maysaa. "The “Unclaimed Experience”: Trauma and Crime Fiction". Arab World English Journal 1, n.º 1 (1 de julho de 2022): 114–25. http://dx.doi.org/10.24093/awej/kust.9.
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This paper examines the intersections between trauma and literature and crime fiction, more specifically. By looking at the representations of trauma in crime fiction, it is argued here that trauma in crime novels involves a multilayered and complex discourse that generates its own narrative, one that relies on techniques like fragmentation, repetition, puzzle-solving, deliberate vagueness, and obscurity. It is also proposed that the use of trauma as a lens to examine crime narratives is both valuable and problematic, as it brings forth the conflict and the tension in the trauma discourse regarding words and wounds; expression and silence; representation and unspeakability. This paper will highlight that exploring the meeting points between trauma and crime narratives can also function as a as a point of departure from the conventional readings of crime fiction and contemplates a reading of the crime novel as trauma fiction. By so doing, this paper stresses the configurations of trauma in crime fiction beyond the medical framework and addresses the aspects and techniques in which trauma is centrally positioned in crime narratives.
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Goodman, Jeffrey. "The Puzzle of Fictional Resemblance". Res Philosophica 99, n.º 3 (2022): 361–75. http://dx.doi.org/10.11612/resphil.2183.
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Cottrell, Jonathan. "A Puzzle about Fictions in the Treatise". Journal of the History of Philosophy 54, n.º 1 (2016): 47–73. http://dx.doi.org/10.1353/hph.2016.0023.
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Plain, Gill. "‘Tale Engineering’: Agatha Christie and the Aftermath of the Second World War". Literature & History 29, n.º 2 (19 de outubro de 2020): 179–99. http://dx.doi.org/10.1177/0306197320945945.
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The ‘golden age’ of clue-puzzle detective fiction is usually considered to end in 1939 with the outbreak of the Second World War. Yet Agatha Christie, the most high-profile and successful exponent of the form, continued to produce bestselling novels until her death in 1976. This essay examines three novels from the immediate postwar period to consider how she adapted her writing to negotiate a changing world and evolving fashions in genre fiction. Engaging with grief, demobilisation, gender, citizenship and the new fears of the atomic age, Christie proves unexpectedly attentive to the anxieties of a new modernity.
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Cesereanu, Ruxandra. "The Savage Detectivism of Roberto Bolaño’s Fiction". Caietele Echinox 43 (1 de dezembro de 2022): 262–67. http://dx.doi.org/10.24193/cechinox.2022.43.17.
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"The present study analyses Roberto Bolaño’s engagement with marginality in the novels The Savage Detectives and 2666, via the conventions of the noir genre. The aesthetics of the peripheral, the poetics of triviality, vagrancy, bohemian wanderlust, and enigmatic rituals are performed in an inimitable personal style that problematizes issues pertaining to the theory of literature and the theory of the novel. Atomised, puzzle-like novels with deliberately obscure police procedural plots, The Savage Detectives and 2666 break several authorial and narrative architectural patterns, becoming major landmarks in today’s novelistic worldscape."
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Flynn, Nicole. "A.S. Byatt and the “perpetual traveller”: a reading practice for new British fiction". Journal of English Studies 16 (18 de dezembro de 2018): 91. http://dx.doi.org/10.18172/jes.3450.
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While most readers enjoyed, or at least admired A.S. Byatt’s Booker prize-winning novel “Possession”, many are puzzled by her work before and since. This essay argues that the problem is not the novels themselves, but rather the way that readers approach them. Conventional reading practices for experimental or postmodern fiction do not enable the reader to understand and enjoy her dense, dizzying work. By examining the intertexts in her novella “Morpho Eugenia,” in particular two imaginary texts written by the protagonist William Adamson, this essay demonstrates how the novella generates a different kind of reading practice. Using Byatt’s metaphor, the essay recommends that readers become “perpetual travelers,” a global model of readership that will enable readers to navigate not only Byatt’s oeuvre and the realm of neo-Victorian fiction, but also the field of new British fiction and the crowded media landscape in which it resides.
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Kaliakatsou, Ioanna, e Aggeliki Giannikopoulou. "Η απαιτητική ανάγνωση των εικόνων στα εικονογραφημένα βιβλία του Σαραμάγκου". Preschool and Primary Education 4, n.º 1 (30 de maio de 2016): 68. http://dx.doi.org/10.12681/ppej.228.
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Postmodern picturebooks have gained increasing importance in the field of theory of children’s literature, because they «Provide the most accessible examples of postmodern eclecticism: the breaking of boundaries, the abandonment of linear chronology, the emphasis on the construction of texts, and the intermingling of parodying genres» (Pantaleo and Sipe 2008). Τhese picturebooks invite a more active reader. Mc Callum (1996) notes that metafictive narratives pose «questions about the relationships between the ways we interpret and represent both fiction and reality». Trites ( 1994) also identifies that the changes in picturebooks reflect «the sort of cultural fragmentation that seems to be the hallmark of the postindustrial age» As today's children live in a world characterized by fragmentation, decanonization and interactivity literacy educators focus on the ways in which literacy education will need to change in order to develop student’s «self-knowledge about reading» (Ryan& Anstey, 2003) and enrich reader’s capacity to decode the rapidly change, rich in symbols, visual culture. (Callow, 2008, Goldstone, 2001, Walsh, 2003, Serafini, 2004 O'Neil, 2011 ) Saramago’s picture books are a good example of work that disrupts expectations of the reader through the self-reflexive narrative structure of the visual text. While the verbal text tells rather a simple fairly story, the visual language in pictures evoke multiple levels of meaning, depending on how the reader (children or adult) chooses to interpret it. One common aspect of the illustrations in both books is the self referential qualities of the illustrations that reveal the process of memories restoration and perception. The illustrators of the books employ a range of metafictive devices that self consciously draws attention to the status of the memories as artifacts and systematically poses questions about the way we recall the past. In this paper we examine fifth graders’ responses to several metafictive devices in Saramago’s picturebooks. The books were read and discussed in depth over a two week time period, where the children participated in small groups and whole-class interactive read-aloud sessions. The fifth graders noticed many of the visual elements and took them into account for the (re)construction of the story, such as intertextuality, indeterminacy in illustrative text, disruptions of traditional time and space relationships, pastiche of illustrative styles, illustrative framing devices including a book embedded within another book, description of the creating process. The data concerning children’s reading of both books lead to the conclusion that ten-years-old children paid great attention to the illustration and did not confine their readings only to words. They have incorporated the visual text in the construction of the story, and proved that they can decipher many of the challenging visual puzzles of both books. The study concludes that using visual literacy in the classroom can help children to develop a “critical eye” and to negotiate our visually rich contemporary culture. Key-words: picturebooks, metafiction, childrens’ perception, memories
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García García, Marta. "„weil es halt schwieriger ist zu reden als es einfach selber zu machen“ – Lernenden-Engagement und Escape Games im Spanischunterricht". Fremdsprachen Lehren und Lernen 52, n.º 2 (16 de outubro de 2023): 50–71. http://dx.doi.org/10.24053/flul-2023-0021.
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Educational Escape Games (EEG) are learning scenarios in which participants must solve a series of puzzles with a clear educational purpose in order to escape from a (fictional) locked room under time pressure. This paper examines two EEGs designed by teacher education students and play-tested with two Spanish classes (10th and 13th grade). The study focuses on the construct of learner engagement from the perspective of conversation analysis and investigates the extent to which learners engage cognitively, affectively, and socially. The results demonstrate that the participants jointly accomplished the task of solving the puzzles as a shared activity, underscoring the high potential of EEGs in promoting engagement with the target language. However, the interaction in the target language still presents a significant challenge.
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Marvika, Billyana, Bukman Lian e Susanti Faipri Selegi. "Development of Maze Puzzle Learning Media in Indonesian Language Learning Storytelling Material". Journal of Social Work and Science Education 4, n.º 3 (24 de junho de 2023): 214–22. http://dx.doi.org/10.52690/jswse.v4i3.540.
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This study aims to produce valid and appropriate Indonesian language learning media material for storytelling fiction and non-fiction. The type of research being developed is Research and Development (R&D) referring to the 4D model, namely Define, Design, Development, and Disseminate. This research produced a product in the form of a maze puzzle with a size of 70 cm × 60 cm with wood or plywood as the basic material. Data analysis techniques were carried out using percentage calculations which were then described to obtain valid and feasible media results. Based on the results of data analysis using media validation, a percentage of 82% was obtained with very valid criteria, and for material expert results, a percentage of 80% was obtained with valid criteria, then the results of the student response questionnaire from one to one results obtained an average value of 90.8% with the criteria very feasible, then the small group questionnaire results obtained an average score of 90.2% with very feasible criteria and the field test obtained an average value of 94.64% with very feasible criteria. It can be seen from the group of criteria included in the criteria 81% - 100% with a very decent category. Thus, it can be concluded that the maze puzzle media in Indonesian language learning storytelling material can be said to be valid and feasible.
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Serkowska, Hanna. "D. D. jak dreszcz demencji". Poznańskie Studia Polonistyczne. Seria Literacka, n.º 34 (11 de janeiro de 2019): 41–62. http://dx.doi.org/10.14746/pspsl.2018.34.2.
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The claim here is that cultural representations of dementia may benefit from the structure of crime fiction which appears therefore to be among the theme most suited genres. We do not know enough about the disease or its etiology (the “culprit” remains unknown), hence the situation of the sufferer befits that of enigma or suspense, fear or confusion, doubt and presumption, standardly deployed by detective stories. Crime fiction narratives underscore that which is at stake in dementia: the riddle of disappearing of the person affected, the puzzle of memory loss, the identity doubt which extends to the relative when he or she is not recognized by the sufferer. By turning to a detective genre, Alzheimer’s novel profits from the genre’s growing popularity, owing to the reading public’s demand for challenges enhancing “mind reading” competences and training predictive abilities. The latter are more in demand as neurocognitive standards of readers grow.
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Martino, Enrico. "Fictional Propositions and the Unprovability of Consistency". Grazer Philosophische Studien 72, n.º 1 (1 de janeiro de 2006): 201–10. http://dx.doi.org/10.1163/18756735-072001010.
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We introduce an epistemic version of validity and completeness of first order logic, based on the notions of and . We then show how the perspective here considered may help to solve an epistemic puzzle arising from Gödel's second incompleteness theorem.
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Domínguez-Rué, Emma. "In Their Blooming Sixties: Aging as Awakening in Amanda Cross’ The Imperfect Spy and The Puzzled Heart". European Journal of Life Writing 1 (5 de dezembro de 2012): 1–21. http://dx.doi.org/10.5463/ejlw.1.23.
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Although the writer and Columbia professor Carolyn Gold Heilbrun (1926-2003) is more widely known for her best-selling mystery novels, published under the pseudonym of Amanda Cross, she also authored remarkable pieces of non-fiction in which she asserted her long-standing commitment to feminism, while she also challenged established notions on women and aging and advocated for a reassessment of those negative views. Taking her essays in feminism and literary criticism as a basis and two of her later novels as substantiation to my argument, this paper will try to illustrate the ways in which the aging female characters in her Kate Fansler series became an instrument to reach a mass audience of readers who might not have read her non-fiction but who were perhaps finding it difficult to reach fulfillment as women under patriarchy, especially upon reaching middle age. My aim is to reveal the ways in which Heilbrun’s seemingly more superficial and much more commercial mystery novels as Amanda Cross were used a catalyst that informed her feminist principles while vindicating the need to rethink about issues concerning the cultural and literary representations of mature women.
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Miquel Baldellou, Marta. "Mary Reilly as Jekyll or Hyde : Neo-Victorian (re)creations of Feminity and Feminism". Journal of English Studies 8 (29 de maio de 2010): 119. http://dx.doi.org/10.18172/jes.154.
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In his article “What is Neo-Victorian Studies?” (2008), Mark Lewellyn argues that the term neo-Victorian fiction refers to works that are consciously set in the Victorian period, but introduce representations of marginalised voices, new histories of sexuality, post-colonial viewpoints and other generally ‘different’ versions of the Victorian era. Valerie Martin’s gothic-romance Mary Reilly drew on Stevenson’s novella to introduce a woman’s perspective on the puzzle of Jekyll and Hyde. Almost twenty-years after the publication of Martin’s novel, the newly established field of research in Neo-Victorian fiction has questioned the extent to which Neo-Victorian recreations of the Victorian past respond to postmodern contemporary reflections and ideas about the period. This article aims to examine the ways in which this Neo-Victorian gothic text addresses both the issues of Victorian femininity and feminist principles now in the light of later Neo-Victorian precepts, taking into consideration that Martin’s novel introduces a woman’s perspective as a feminist response to Stevenson’s text but also includes many allusions to the cult of domesticity as a legacy of the Victorian gothic romance.
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Kalashnikova, G. O., V. N. Yakovenchuk, E. A. Selivanova, Ya A. Pakhomovsky e D. V. Gryaznova. "THE WAY OF DEVELOPMENT OF NATURAL LINTISITE FROM A MINERAL TO ITS SYNTHETIC ANALOGUE: USEFUL PROPERTIES, POTENTIAL AREAS OF PRACTICAL APPLICATION". Herald of the Kola Science Centre of the RAS 13, n.º 2-2021 (20 de dezembro de 2021): 7–16. http://dx.doi.org/10.37614/2307-5228.2021.13.2.001.
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The article presents a general description of lintisite – a rare mineral of the Khibiny and Lovozersky alkaline massifs. The mineral is considered as a base for the creation of a number of new interesting and useful substances for the modern science of materials. The characteristics of a natural sample are compared with its synthetic analogue AM-4. Examples of potential applications of AM-4 and its new form as the "nano-scale puzzle" for the field of organic synthesis are given. Different methods of AM-4 granulation are shown. The text is presented as a science fiction in order to attract the interest of people to the publication.
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D’ONOFRIO, SILVIO TAMASO, e ANDRÉ LUIZ SILVA DE SOUZA. "Ghost in the Shell as a Cyberpunk Rhapsody". LITERATURE AND FILM / LITTÉRATURE ET FILM / LITERATURĂ ȘI FILM 32, n.º 2 (2024): 183–96. http://dx.doi.org/10.47743/aic-2023-2-0017.
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The article proposes a reading of one of the constituent aspects of the feature film Ghost in the Shell (2017), its plot, as a compendium of influences of what is usually considered to belong to the science fiction genre. According to the reading, the movie presents ideas and an aesthetics that points to the newest trends of science fiction, such as cyberpunk, suggesting passages of many previous films, something that can help draw the constitutive master lines of the plot as similar to the concept of rhapsody, an old, if not ancestral concept. In an attempt to understand this pendulum-like movement that presents the new but is made up of the past, one of the canons of Western literature of all times was sought as the theoretical support for an attempt to explore this old facet in a futuristic film. From this point of view, concepts such as mimesis and emulation were used in this approach to the filmographic version of the homonymous manga published in Japan in 1982, a film that presents itself as a challenging puzzle whose resolution finds, in this article, a beginning and also an incentive for future studies.
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Horswill, Ian. "MKULTRA (Demo)". Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 11, n.º 1 (24 de junho de 2021): 223–25. http://dx.doi.org/10.1609/aiide.v11i1.12776.
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MKULTRA is an experimental game that explores novel AI-based game mechanics. Similar in some ways to text-based interactive fiction, the player controls a character who interacts with other characters through dialog. Unlike traditional IF, MKULTRA characters have simple natural language understanding and generation capabilities, sufficient to answer questions and carry out simple tasks. The game explores a novel game mechanic, belief injection, in which players can manipulate the behavior of NPCs by injecting false beliefs into their knowledge bases. This allows for an unusual form of puzzle-based gameplay, in which the player must understand the beliefs and motivational structure of the characters well enough to understand what beliefs to inject.
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Callet-Bianco, Anne-Marie. "L’art du récit-cadre chez Dumas". Elseneur 39 (2024): 13–26. http://dx.doi.org/10.4000/11z0m.
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Cette contribution s’intéresse au traitement du récit-cadre dans les romans et nouvelles de Dumas. Même si ce type de début n’est pas le plus répandu dans son abondante production, sa relative fréquence justifie une analyse. Reprenant un type d’incipit classique, Dumas en fait un usage extrêmement personnel et original. Mélangeant réalité et fiction, il bouscule volontiers le cloisonnement des genres ; il s’en sert aussi pour s’approprier un texte écrit en collaboration ; cette appropriation passe souvent par l’écriture de soi qu’on retrouve dans tous ces débuts, et qui composent un portrait de l’auteur sous forme de puzzle. Avec Dumas, le récit-cadre cesse d’être une simple utilité pour devenir une marque de style.
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Kis, Bela, James A. Snipes e David W. Busija. "Acetaminophen and the Cyclooxygenase-3 Puzzle: Sorting out Facts, Fictions, and Uncertainties". Journal of Pharmacology and Experimental Therapeutics 315, n.º 1 (6 de maio de 2005): 1–7. http://dx.doi.org/10.1124/jpet.105.085431.
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Düringer, Eva-Maria. "Desires and Fiction". Journal of Literary Theory 12, n.º 2 (3 de setembro de 2018): 241–59. http://dx.doi.org/10.1515/jlt-2018-0014.
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Abstract It is often claimed that we cannot desire fictional states of affairs when we are aware of the fact that we cannot interact with fictional worlds. But the experiences we have when we read an engaging novel, watch a horror film or listen to a gripping story are certainly very similar to desires: we hope that the lovers get together, we want the criminal to get caught, we long for the hero to make his fortune. My goal in this paper is to outline the reasons why we might find it difficult to call these experiences genuine desires and to argue that they are not good reasons. In the second section I look at three reasons in particular: first, the reason that, if we genuinely desired fictional outcomes, we would act in silly or dangerous ways; second, the reason that, if we genuinely desired fictional outcomes, we would change plot lines if we had the chance, which in fact, however, we would not; and third, the reason that, if we genuinely desired fictional outcomes, we would not think it impossible to interact with fictional worlds, which, however, we do. I will dismiss the first two reasons right away: depending on how we interpret the first reason, either it does not have much weight at all, because we have many desires we never act on, or it rests on a functionalist definition of desires that wrongly takes it to be the functional role of desires to bring about action. I will dismiss the second reason by arguing that, if we desire a particular fictional outcome that we could bring about by changing the plot line, whether or not we would do it turns on our assessment of the cost of interference; and this, in turn, depends on the perceived quality of the literature. There is nothing that speaks against taking both the desire for a particular fictional outcome and the desire for a work of literature to remain what it is as genuine desires. I turn to possible ways of dealing with the third and strongest reason in the third section. The claim that, if I desire that p, I must not think that there is nothing I could possibly do to bring it about that p, is plausible. And of course, I do think that there is nothing I could possibly do to bring about a fictional state of affairs. I will argue that there are three possible ways of dealing with this problem. The first is to point to partners in crime such as the desire that one is reunited with a loved one who has recently passed away. I take these to be genuine and ordinary desires, even though they are accompanied by thoughts, indeed agonising thoughts, that there is nothing we could possibly do to bring about the desired end. Secondly, I will look at Maria Alvarez’s recent account of desires as multi-track dispositions. Alvarez claims that desires are dispositions not only to actions, but also to certain thoughts, feelings, and expressive behaviours and that they need to have had at least one manifestation in order to exist. Modifying this view a little, I argue that desires need to have manifested at least once in action preparations and show how, on this picture, the thought that I can do nothing to bring about the desired end is not in unbearable tension with the existence of the desire. Finally, I will point to the distinction between physical and metaphysical possibility and argue that, even if we accept the claim that a mental attitude cannot be a desire if it is accompanied by the thought that there is nothing one could possibly do to bring about the desired end, then this is only a problem for desires about fictional states of affairs if we think that metaphysical possibility is at play. However, there is no problem for desires about fictional states of affairs if they are accompanied by thoughts about the physical impossibility of bringing them about. I begin the paper by describing in the first section how desires enter into the controversies surrounding the classic Paradox of Fiction, which is the puzzle about whether and how we can have emotions about fictional characters, and by providing some examples designed to feed the intuition that we do, indeed, have genuine desires about fictional states of affairs.
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Chwirot, Agata. "Od abecadlnika do encyklopedii, czyli o picturebooku Iwony Chmielewskiej abc.de". Poznańskie Studia Polonistyczne. Seria Literacka, n.º 44 (10 de outubro de 2023): 303–25. http://dx.doi.org/10.14746/pspsl.2023.44.16.
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Iwona Chmielewska’s picturebook abc.de published in 2015 has been called a ‘dictionary’, ‘primer’, ‘ABC book’ and it has been compared to an encyclopaedia. Early-concept or concept books have been mentioned in its context, as well as the title of other books by Chmielewska, ‘thinking ABC’, this time as a specific name for a particular type of work. The terms ‘rebus’, ‘puzzle’, ‘riddle’, ‘intellectual game’ also appear frequently. All this together suggests how complex and multi-layered the book is and how much it draws on various forms. The aim of this article, therefore, is to look at what forms, in what way and for what purpose Iwona Chmielewska uses in abc.de and how it all relates to contemporary trends in the development of non-fiction picturebooks.
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Nordmann, Alfred. "Humanoid and machine artificial intelligence in science fictions". Semiotic studies 2, n.º 4 (28 de dezembro de 2022): 15–21. http://dx.doi.org/10.18287/2782-2966-2022-2-4-15-21.
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There are a lot of different debates about artificial intelligence. Indeed, in the last several decades one can witness a shift in Hollywood SciFi movies. Many of the older stories were puzzled about human and machine identities as they appeared to become uncannily indistinguishable. More recent stories deal with disappointment and shock as the machines which emulate and exceed human reasoning prove to have a kind of intelligence that is very different from human thinking and feeling. The following observations seek to reflect the significance of this shift. On the one hand, it is referred to a change in the orientation of AI research itself - transition from humanoid AI to machine one. On the other hand, these movies do not so much analyze impact and future of two AI kinds, as they reflect on the cultural conditions, hopes and fears that motivate or ground AI research. Thus, science fiction can be a stage or a representational framework for an interpretative interaction with technology, that is, for understanding artificial intelligence, its significance and importance for various ways people understand and position themselves in the world of signs and symbols, objects and work products.
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Kokot, Joanna. "„Świat cały jest sceną…”. Szekspirowskie aluzje w „Hamlet, Revenge!” Michaela Innesa". Literatura i Kultura Popularna 28 (6 de outubro de 2022): 35–50. http://dx.doi.org/10.19195/0867-7441.28.3.
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While some of the golden age detective novels tend to rather concentrate on the social background or the psychology of the characters, thus utilizing the novel of manners conventions (Agatha Christie, Dorothy Sayers, Margery Allingham, Martha Grimes), others focus on the criminal puzzle itself, presenting it as a challenge both to the fictional detective and to the reader. This is the case with Michael Innes’s novel, where the context of the murder is a performance of Shakespeare’s Hamlet, while quotations from this and other Shakespeare’s plays function as clues. The paper explores both the utilization of Shakespeare’s play as a code to decipher the puzzle, as well as the theatralization of the presented reality itself, turning — even as viewed from the internal perspective — into a stage on which a drama is played.
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Sandberg, Eric. "Detective Fiction, Nostalgia and Rian Johnson's Knives Out: Making the Golden Age Great Again". Crime Fiction Studies 1, n.º 2 (setembro de 2020): 237–53. http://dx.doi.org/10.3366/cfs.2020.0023.
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The Golden Age is back with a vengeance: reprints, re-boots, and adaptations of interwar detective fiction and its off-shoots have proliferated in the twenty-first century, as have works more loosely, but nonetheless substantially, inspired by the clue-puzzle format developed and perfected by authors like Agatha Christie. This resurgence of the ‘whodunnit’ mystery is something of mystery itself, as the centre of gravity of crime writing has long shifted away from this ostensibly dated and aesthetically limited form. This paper explores this unexpected development, looking in particular at the role of nostalgia in relation to new Golden Age mysteries. While nostalgia is frequently, and quite justly, viewed in negative terms as a personally and politically regressive phenomenon, in some cases, as in Rian Johnson’s murder mystery Knives Out (2019), examined here, it can be used not simply as a dubious marketing or aesthetic strategy, but as part of a broader social critique in which one form of nostalgia is used to critique another.
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Todd, Cain Samuel. "Imaginability, morality, and fictional truth: dissolving the puzzle of ‘imaginative resistance’". Philosophical Studies 143, n.º 2 (11 de janeiro de 2008): 187–211. http://dx.doi.org/10.1007/s11098-007-9198-5.
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