Thematische Bibliographien / Tartars fiction

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Auswahl der wissenschaftlichen Literatur zum Thema „Tartars fiction“

Autor: Grafiati
Veröffentlicht am 28. Juli 2024
Zuletzt aktualisiert am 31. Juli 2025

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Zeitschriftenartikel zum Thema "Tartars fiction"

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Castelli, Alberto. "Giovanni Drogo: The Absolute beyond the Desert." Journal of Mediterranean Studies 30, no. 2 (2021): 189–200. http://dx.doi.org/10.1353/jms.2021.a881033.

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Abstract: Giovanni Drogo is the fictional protagonist of Dino Buzzati’s most celebrated text, Il Deserto dei Tartari ( The Tartar Steppe ). From the solitude of a distant Fortress, Drogo observes the wilderness of the desert while waiting for foreign forces to arrive. However, the idea of power correlated to his position slowly becomes an insight into the hidden significance of things. The enigmatic time of his wait, the feeling of enchantment, the hypnotic force of the Fortress, are all elements associated with his final destination. Beyond the desert is the beginning of the afterlife.
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Castelli, Alberto. "The Tartar Steppe: A Journey through a Limbo." Quaderni d'italianistica 43, no. 2 (2023): 201–23. http://dx.doi.org/10.33137/q.i..v43i2.41159.

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Dino Buzzati’s most famous text, The Tartar Steppe (1940), is not simply the story of a young officer dispatched to do service in a remote fortress overlooking a vast northern desert, but a continuous oscillation between chronicle and fabulous realism. The narrative elicits a feeling of sharp malaise, a sense of anguish similar to the one conveyed by existentialist philosophy and Kafka’s fiction. By comparing Buzzati’s novel to its progenitors, this essay depicts the central experience of its main character as a journey to the afterlife where people, objects, and landscapes are but projections
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McCarter, Stephanie. "LUCRETIUS’ DIDACTICS OF DISGUST." Ramus 51, no. 1 (2022): 47–73. http://dx.doi.org/10.1017/rmu.2022.3.

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The plague that closes Lucretius’ De Rerum Natura is a spectacle of disgust. Throats sweat with blood (6.47f.); tongues drip with gore (6.1149); breath reeks like rotten cadavers (6.1154f.); drinking water is contaminated when the sick dive into it (6.1174f.); black discharge pours from stomachs (6.1200); foul blood seeps from noses (6.1203); the sick slice off their own hands, feet, and genitals (6.1209f.); dead bodies are entombed by ulcers (6.1271). Again and again Lucretius hits upon domains that have been identified as key disgust elicitors. In Book 6, more than in any other book of the e
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Zhang, Shiyuan. "Narrative Point of View and Romantic Irony in Melville’s “The Paradise of Bachelors and the Tartarus of Maids”." International Journal of Linguistics, Literature and Translation 6, no. 12 (2023): 78–84. http://dx.doi.org/10.32996/ijllt.2023.6.12.11.

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The short fiction “The Paradise of Bachelors and the Tartarus of Maids” is written in first-person narration as a diptych in which Melville ponders the human spiritual crisis in the industrialized world. This article explores the contradiction of the narrator’s spiritual liberation and others’ exclusion employing the narrator’s shifting experiencing and retrospective viewpoints, with the engagement of Romantic Irony. Through the dual viewpoints, the subjectivity and uncertainty of the first-person Romantic ironist manifest the uncertainty of the human spiritual crisis in industrialization. Mel
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Shiyuan, Zhang. "Narrative Point of View and Romantic Irony in Melville’s “The Paradise of Bachelors and the Tartarus of Maids”." International Journal of Linguistics, Literature and Translation 6, no. 12 (2023): 173–79. http://dx.doi.org/10.32996/ijllt.2023.6.12.20.

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The short fiction “The Paradise of Bachelors and the Tartarus of Maids” is written in first-person narration as a diptych in which Melville ponders the human spiritual crisis in the industrialized world. This article explores the contradiction of the narrator’s spiritual liberation and others’ exclusion employing the narrator’s shifting experiencing and retrospective viewpoints, with the engagement of Romantic Irony. Through the dual viewpoints, the subjectivity and uncertainty of the first-person Romantic ironist manifest the uncertainty of the human spiritual crisis in industrialization. Mel
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Chochoy, Matthieu. "L’ Histoire du grand empereur Tamerlanes de Jean du Bec (1595) entre fausse biographie et vraie épopée." Eurasian Studies 22, no. 2 (2025): 210–27. https://doi.org/10.1163/24685623-20240167.

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Abstract This article identifies the heterogeneous corpus that Jean du Bec mobilized for the writing of his fictional biography of Tamerlane and explains the roles he attributed to his character. Far from seeking to construct a faithful portrait of the “Tartar” sovereign, the author delivers political and military advices to French nobility in the midst of religious wars. As such, this novel demonstrates the strategies for mobilizing knowledge about the Orient in France at the end of the 16th century.
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Васильева, Е. Н. "ПРАВДА И ВЫМЫСЕЛ О ВЕЛИКОЙ ТАРТАРИИ В ТРАКТАТЕ «О ДУХЕ ЗАКОНОВ» Ш.-Л. МОНТЕСКЬЕ". ВЕСТНИК РУССКОЙ ХРИСТИАНСКОЙ ГУМАНИТАРНОЙ АКАДЕМИИ, № 20(4) (2 березня 2020). https://doi.org/10.25991/vrhga.2020.20.4.016.

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Предметом исследования встатье является образ Великой Тартарии втрактате Одухе законов Монтескье, рассматриваемый всоотношении спредшествующей традицией изображения азиатского региона взападноевропейской культуре. Современ завоевательных походов Чингисхана идоXIXв. вЕвропе преобладало негативное восприятие Великой Тартарии, посути, представлявшей собой воображаемый конструкт. Встатье предпринимается попытка определить, какую роль вформировании иэволюции татарского мифа играет Монтескье. Содной стороны, значительное внимание уделяется обзору источников, накоторых базируется его знание обэтом ре
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Miller, Andie. "What is Real?" M/C Journal 5, no. 5 (2002). http://dx.doi.org/10.5204/mcj.1984.

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Paul Theroux, like most writers, is far uglier in person than he is in photographs. For one thing, there's the matter of his bluntly-cut toupee, which tilts noticeably from side to side as he shifts in his chair. For another, there are Theroux's teeth, which are so badly stained they seem to be carved from the driftwood that dots the nearby Cape Cod shoreline. Never mind his unpleasant habit of hacking up massive gobs of phlegm, which he then expectorates into the Persian carpet at his visitor's feet. So begins the introduction to Dwight Garner's interview with the author in Salon in 1996. Tho
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McGillivray, Glen. "Nature Transformed: English Landscape Gardens and Theatrum Mundi." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1146.

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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas an
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Lavers, Katie. "Cirque du Soleil and Its Roots in Illegitimate Circus." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.882.

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IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists prese
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Dissertationen zum Thema "Tartars fiction"

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Wanner, Lennart. "What is Tartan Noir? : investigating Scotland's dark contemporary crime fiction." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/18740.

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Contrary to popular belief, Tartan Noir is not a synonym for Scottish noir but a mystifying marketing label for a national literature: dark, contemporary Scottish crime fiction. As it comprises an immense diversity of writing done in such mainstream sub-genres as detective, police, and serial killer fiction, as well as actual noir, I will investigate both the contrasts and the crossovers between said sub-genres. I will show that only few of the writers who are most associated with Tartan Noir write much, or any, noir, whereas most of those who do are not commonly associated with the term. With
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Christie, Thomas A. "Notional identities : ideology, genre and national identity in popular Scottish fiction, 1975-2006." Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/7149.

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One of the most striking features of contemporary Scottish fiction has been its shift from the predominantly realist novels of the 1960s and 1970s to an engagement with very different modes of writing, from the mixture of realism and visionary future satire in Alasdair Gray’s Lanark (1981) to the Rabelaisian absurdity and excess of Irvine Welsh’s Filth (1998). This development has received considerable critical attention, energising debates concerning how such writing relates to or challenges familiar tropes of identity and national culture. At the same time, however, there has been a very str
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Holmqvist, Julia. "Idiomatic Expressions in Fiction : A Textual Analysis of the Use and Effects of Idioms in Donna Tartt's The Secret History." Thesis, Högskolan i Jönköping, Högskolan för lärande och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-25941.

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Dujarric, Florence. "La ville de Rebus : polarités urbaines dans les romans d'Ian Rankin (1987-2007)." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-01015364.

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La présente étude analyse les représentations de la ville dans la série policière d'Ian Rankin dont l'inspecteur John Rebus est le protagoniste. La polarité étant l'un des principes organisateurs de l'écriture rankinienne, notre analyse s'articule autour de plusieurs couples de notions antinomiques. Nous remettons d'abord en cause la légitimité de l'antinomie qui oppose la littérature à la " littérature de masse ", dans laquelle est souvent classé le roman policier. Cela nous conduit à redéfinir le roman policier, et mettre en perspective la série dans le contexte du monde littéraire et artist
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Cousin-Martin, Daphné. "Τraduire l'οuïe et le tοucher dans le Τartan Νοir : théοries, pratiques et nοuvelles technοlοgies". Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMR098.

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Cette thèse s’intéresse aux défis de traduction soulevés par le genre du Tartan Noir. Les traductions publiées du genre vers le français semblent s’être centrées autour de l’intrigue, au détriment d’éléments indispensables à la représentation de l’expérience écossaise et de la complexité stylistique des romans. L’équivalence sémantique apparait comme l’approche privilégiée à cette fin, dans les traductions publiées. Ce travail de recherche pluridisciplinaire se propose d’explorer les particularités du Tartan Noir dans sa diversité par le biais des sens et du corps, en se concentrant sur les au
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Goldfarb, Nancy D. ""Charity Never Faileth": Philanthropy in the Short Fiction of Herman Melville." Thesis, 2014. http://hdl.handle.net/1805/6298.

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Indiana University-Purdue University Indianapolis (IUPUI)<br>This dissertation analyzes the critique of charity and philanthropy implicit in Melville’s short fiction written for periodicals between 1853 and 1856. Melville utilized narrative and tone to conceal his opposition to prevailing ideologies and manipulated narrative structures to make the reader complicit in the problematic assumptions of a market economy. Integrating close readings with critical theory, I establish that Melville was challenging the new rhetoric of philanthropy that created a moral identity for wealthy men in industr
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Bücher zum Thema "Tartars fiction"

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Deen, Ron. Wrath of the Tartars. New Millennium, 1997.

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Cavanaugh, Jack. Tartarus. Howard Fiction, 2008.

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Kholodchuk, Olesi︠a︡. Tartar. Komiks Pablisher, 2017.

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Buzzati, Dino. The Tartar Steppe. D.R. Godine, 2005.

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Buzzati, Dino. The Tartar Steppe. D.R. Godine, 1995.

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Buzzati, Dino. Tartar Steppe. Carcanet, 1996.

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Amarger, Patrice. La fureur des Tartares: Roman. R. Laffont, 1996.

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Montero, Rosa. Il cuore del tartaro: Romanzo. Frassinelli, 2001.

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Alcott, Louisa May. A modern Mephistopheles: And, Taming a Tartar. Praeger, 1987.

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Ḥaydar, al-Muhannad. Dimashq allatī tartadī khūdhah: Riwāyah. Nīnawá lil-Dirāsāt wa-al-Nashr wa-al-Tawzīʻ, 2021.

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Buchteile zum Thema "Tartars fiction"

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Woolf, Virginia. "A Woman’s College From Outside." In Kew Gardens and Other Short Fiction. Oxford University Press, 2022. http://dx.doi.org/10.1093/owc/9780198838135.003.0012.

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The feathery-white moon never let the sky grow dark; all night the chestnut blossoms were white in the green, and dim was the cow-parsley in the meadows.<sup>*</sup> Neither to Tartary<sup>*</sup> nor to Arabia went the wind of the Cambridge courts, but...
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Behluli, Sofie. "Ascriptions of Value." In Art in Contemporary Anglo-American Fiction. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780198954514.003.0002.

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Abstract Chapter 1, ‘Ascriptions of Value’, examines how contemporary ekphrastic novels navigate cultural value and reshape the visual and literary canon. Borrowing from revered artworks for self-canonizing purposes, these novels also highlight their own value as negotiators in international aesthetic debates. Through a close reading of Donna Tartt’s The Goldfinch, which evokes Carel Fabritius’s eponymous painting (1654) to preserve an elusive, canonical past and to reinforce personal, affective processes of value ascription beyond cultural institutions such as museums, this chapter demonstrat
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Machor, James L. "The American Reception of Melville’s Short Fiction in the 1850s." In New Directions in American Reception Study. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195320879.003.0005.

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Abstract Melville’s career as a short story writer was a brief but productive one. In the wake of a steady decline in both his reputation and the sales of his novels— from the initial stunning success of Typee in 1846 to the disastrous reception of Pierre, his seventh novel—Melville in the spring of 1853 first tried his hand at short fiction, producing four stories by the summer, including one of his most remarkable, “Bartleby, the Scrivener.” In a brief span of three years, he would write a total of sixteen stories and would publish all but one, “The Two Temples.” Financially, his foray into
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Behluli, Sofie. "Introduction." In Art in Contemporary Anglo-American Fiction. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780198954514.003.0001.

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Abstract The Introduction outlines the central concepts of the book—ekphrasis, the novel, value, form, affect, and scale—and defines the characteristics of the literary subgenre referred to here as the ‘ekphrastic novel’. It contextualizes the rise of the ekphrastic novel by referencing the digital age and significant intermedial developments that have influenced Anglo-American societies in the 2010s. It also introduces the four key texts—Donna Tartt’s The Goldfinch, Amy Sackville’s Painter to the King, Hanya Yanagihara’s A Little Life, and Claire Messud’s The Woman Upstairs—which are acclaime
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"The Tartar Steppe in terms of the Psychology of Architectural Space." In Architecture in Fictional Literature: Essays on Selected Works, edited by Hikmet Temel Akarsu. BENTHAM SCIENCE PUBLISHERS, 2021. http://dx.doi.org/10.2174/9789815036008121010009.

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Jack, Alison. "Tartan Noir and Sacred Scripture: The Bible as Artefact and Metanarrative in Peter May’s Lewis Trilogy." In The Bible in Crime Fiction and Drama. T&T CLARK, 2019. http://dx.doi.org/10.5040/9780567678003.ch-003.

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