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Journal articles on the topic 'Art thieves in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Vice, Sue. "Memory Thieves?" English Language Notes 57, no. 2 (2019): 114–26. http://dx.doi.org/10.1215/00138282-7716196.

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Abstract This article examines the contemporary phenomenon of fiction and film about Holocaust survivors suffering from dementia. Earlier examples of this kind use dementia to explore the interior states of survivor guilt and the suppression of painful memories. By contrast, twenty-first-century representations convey the passing on of Holocaust memory to the next generation. These individuals, in the role of offspring or carers, act as the investigators and inheritors of a history that either has vanished from the survivor’s memory or appears in the present as if it were still taking place. S

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2

Childers, Emily, and Hannah Menendez. "Apocalypse When? Storytelling and Spiralic Time in Cherie Dimaline’s The Marrow Thieves and Louise Erdrich’s Future Home of the Living God." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 211–26. http://dx.doi.org/10.18778/2083-2931.12.13.

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Contemporary climate fiction (cli-fi) frequently invokes the concept of apocalypse to explore the experience of living through the era of unprecedented climate change and environmental disaster that has been named the Anthropocene. Yet, as often as apocalyptic narratives are deployed to express those anxieties and experiences, they so often ignore the histories and presents of peoples who have already lived through multiple apocalypses—in particular, the ongoing violence of settler colonial exploitation of the land now called North America. Considering the role that settler colonialism has pla

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3

Шеслер, Александр Викторович. "“Thief in law”: criminal status or basis of criminal liability." Vestnik Kuzbasskogo instituta, no. 1(42) (March 20, 2020): 110–23. http://dx.doi.org/10.53993/2078-3914/2020/1(42)/110-123.

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В статье анализируются предусмотренные в ст. 210 УК РФ основания уголовной ответственности лиц, занимающих высшее положение в преступной иерархии, к которым относятся, прежде всего, такие лидеры общеуголовной среды, как «воры в законе». Отмечается, что появление этой статьи в действующем УК РФ является результатом развития двух тенденций в уголовном законодательстве. Первая тенденция связана со стремлением законодателя криминализировать общественно опасную деятельность лидеров преступной среды, которая направлена на ее сплочение, однако отчуждена от совершения конкретных преступлений, не являе

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4

Markova, Lora, and Roger Shannon. "Leonora Carrington on and off Screen: Intertextual and Intermedial Connections between the Artist’s Creative Practice and the Medium of Film." Arts 8, no. 1 (2019): 11. http://dx.doi.org/10.3390/arts8010011.

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This article explores the under-researched intertextual and intermedial connections between Leonora Carrington’s transdisciplinary practice and the medium of film. The analysis focuses on the artist’s cameo appearances in two 1960s Mexican productions—There Are No Thieves in This Village (Alberto Isaac 1964) and A Pure Soul (Juan Ibáñez 1965)—which mark her creative collaborations with Surrealist filmmaker Luis Buñuel and Magic Realists Gabriel García Márquez and Carlos Fuentes. Carrington’s cameo roles are analyzed within a network of intertextual translations between her visual and literary

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5

CHAPMAN, H. PERRY. "ART FICTION." Art History 32, no. 4 (2009): 785–805. http://dx.doi.org/10.1111/j.1467-8365.2009.00702.x.

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6

Dundler, Lauren. "Art crime: terrorists, tomb raiders, forgers and thieves." Journal of Policing, Intelligence and Counter Terrorism 11, no. 2 (2016): 199. http://dx.doi.org/10.1080/18335330.2016.1231377.

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7

Feldman-Kołodziejuk, Ewelina. "Reading space in Michael Crummey's River Thieves." Świat i Słowo 34, no. 1 (2020): 336. http://dx.doi.org/10.5604/01.3001.0014.3064.

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The fiction of Michael Crummey, one of the renowned contemporary Canadian writers, is deeply rooted in the landscape of his home-island, that is, Newfoundland. In his debut novel River Thieves published in 2001, the author shows the land as a non-anthropological determinant of human history and the only witness to keep a vivid, undistorted memory of the vanished tribe of Beothuks. This article invites the reading of Crummey's works through the prism of geopoetics and cultural geography. It shows what functions the space/land plays in the discussed narrative and how it adds new meanings to an o

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8

Pravinchandra, Shital. "‘More than biological’: Cherie Dimaline’s The Marrow Thieves as Indigenous countergenetic fiction." Medical Humanities 47, no. 2 (2021): 135–44. http://dx.doi.org/10.1136/medhum-2020-012103.

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This article reads Métis writer Cherie Dimaline’s novel The Marrow Thieves as one among a growing number of Indigenous countergenetic fictions. Dimaline targets two initiatives that reductively define indigeneity as residing in so-called Native American DNA: (1) direct-to-consumer genetic testing, through which an increasing number of people lay dubious claim to Indigenous ancestry, and (2) population genetics projects that seek urgently to sample Indigenous genetic diversity before Indigenous Peoples become too admixed and therefore extinct. Dimaline unabashedly incorporates the terminology o

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9

Thị Huệ, Đoàn. "Fiction and art fiction in historical novel." Journal of Science, Social Science 62, no. 2 (2017): 27–33. http://dx.doi.org/10.18173/2354-1067.2017-0004.

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10

Latham, Monica. "Thieving Facts and Reconstructing Katherine Mansfield’s Life in Janice Kulyk Keefer’s Thieves." European Journal of Life Writing 3 (October 14, 2014): 103–20. http://dx.doi.org/10.5463/ejlw.3.83.

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The aim of this article is to examine how the biographical material that Janice Kulyk Keefer “steals” from Mansfield’s life is used to re-create a “quasi-real” life in a novel which absorbs reality, digests it, and offers an oxymoronic, semi-fictitious product: a biofiction. Keefer selected biographèmes or kernels of truth on which her fictitious details and characters could be grafted: following Mansfield’s physical, emotional and intellectual trail was an imperative part of Keefer’s research plan, as essential as close reading of the modernist author’s letters and journals. Besides seamlessl

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11

Ahmed, K. Anis. "Fiction: A Transgressive Art." World Literature Today 90, no. 1 (2016): 42–46. http://dx.doi.org/10.1353/wlt.2016.0276.

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12

Barone, Dennis. "The Art of Fiction." Chicago Review 45, no. 3/4 (1999): 153. http://dx.doi.org/10.2307/25304433.

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13

K. Anis Ahmed. "Fiction: A Transgressive Art." World Literature Today 90, no. 1 (2016): 42. http://dx.doi.org/10.7588/worllitetoda.90.1.0042.

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14

Barolsky, Paul. "Art History as Fiction." Artibus et Historiae 17, no. 34 (1996): 9. http://dx.doi.org/10.2307/1483520.

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15

Ciuba, Gary M. "Book Review: Preachers and Misfits, Prophets and Thieves: The Minister in Southern Fiction." Christianity & Literature 60, no. 2 (2011): 355–58. http://dx.doi.org/10.1177/014833311106000222.

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16

Park, J. P. "Art-Historical Fiction or Fictional Art History?" Archives of Asian Art 72, no. 2 (2022): 181–219. http://dx.doi.org/10.1215/00666637-9953432.

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Abstract In 1634 Zhang Taijie (b. 1588) published a woodblock edition of Baohuilu (A Record of Treasured Paintings), an extensive catalog of a massive painting collection he claimed to have built. This work would seem to be a useful resource for historians of Chinese art since it provides accounts of paintings by artists whose works are no longer extant. But there is one major problem: the book is a forgery. What is more, Zhang also forged paintings to match the documentation he created, so he could also profit from trading in them. Interestingly, the book also echoes unfounded claims register

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17

John Radzilowski. "Thieves Stealing from Thieves, Victims from Victims: The Culture, Morality, and Politics of Stolen Art in Twentieth Century Poland." Polish Review 61, no. 4 (2016): 3. http://dx.doi.org/10.5406/polishreview.61.4.0003.

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18

Mitchell, Kate. "Painted Traces: Art and Ekphrasis in Elizabeth Kostova's The Swan Thieves." Victoriographies 9, no. 3 (2019): 259–79. http://dx.doi.org/10.3366/vic.2019.0353.

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Nineteenth-century writers like Jane Austen, Mary Elizabeth Braddon, and Oscar Wilde were fascinated with the power of art. In their novels, the portrait could reveal secrets and capture the essence, or truth, of its subject. But how might painting be understood as a trace not of character so much as history? What power does the artwork have to connect us to past lives and histories today, continuing their activity into the present? Elizabeth Kostova's The Swan Thieves (2010) explores these questions by depicting artwork as talismanic, providing (a fantasy of) access to a past that is at once

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19

Hassler, Donald M. "Science Fiction and High Art." Extrapolation 28, no. 2 (1987): 187–94. http://dx.doi.org/10.3828/extr.1987.28.2.187.

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20

Stowe, William W. "Popular Fiction as Liberal Art." College English 48, no. 7 (1986): 646. http://dx.doi.org/10.2307/377366.

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21

Raeburn, John, and Ronald Weber. "Hemingway's Art of Non-Fiction." American Literature 63, no. 1 (1991): 139. http://dx.doi.org/10.2307/2926580.

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22

Moss, Sarah. "On fiction, art and medicine." Medical Humanities 40, no. 2 (2014): 142–44. http://dx.doi.org/10.1136/medhum-2014-010615.

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23

Stowe, William W. "Popular Fiction as Liberal Art." College English 48, no. 7 (1986): 646–63. http://dx.doi.org/10.58680/ce198611576.

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24

Bauer, Tat’yana. "THE IMAGE OF A THIEF IN THE EAST SLAVIAN NON-FAIRY-TALE PROSE." Проблемы исторической поэтики 19, no. 4 (2021): 55–81. http://dx.doi.org/10.15393/j9.art.2021.10163.

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This article discusses the status of thievery in the East Slavic tradition. The prime objective of the publication was to determine the place of the thief in the system of characters with supernatural abilities who also belong to the “knower” category. This category usually includes masters, magic experts, and semi-demonic beings. The work is based on the materials of the peasant culture of the mid-19th — early 20th centuries. A systematic description of the image of the thief as a character with supernatural abilities comprised the first stage of research. The research study reveals the reaso

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25

Peters, M. "THE ART OF FICTION: How Fiction Works. By JAMES WOOD." Essays in Criticism 59, no. 3 (2009): 279–86. http://dx.doi.org/10.1093/escrit/cgp014.

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26

CondÉ, Carol, and Karl Beveridge. "Pulp Fiction: A Photo Installation." Canadian Theatre Review 99 (June 1999): 16–24. http://dx.doi.org/10.3138/ctr.99.003.

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We met in 1967 and have been working together for almost twenty-five years. In 1969 we had moved to New York to seek fame and fortune as sculptors and painters. We became politicized there, partly in reaction to the insane competitiveness of the art market but also in response to the larger politics of feminism, anti-racism and the left. In 1975 we became involved with a collective named Art and Language and produced a magazine titled The Fox. It became notorious for its critical discussion of the New York art scene and raised, along with the work of many other artists, political issues in rel

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27

Wang, Yiran, Shuowei Jin, and Ming Cheng. "A Convolution–Non-Convolution Parallel Deep Network for Electricity Theft Detection." Sustainability 15, no. 13 (2023): 10127. http://dx.doi.org/10.3390/su151310127.

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This paper proposes a novel convolution–non-convolution parallel deep network (CNCP)-based method for electricity theft detection. First, the load time series of normal residents and electricity thieves were analyzed and it was found that, compared with the load time series of electricity thieves, the normal residents’ load time series present more obvious periodicity in different time scales, e.g., weeks and years; second, the load times series were converted into 2D images according to the periodicity, and then electricity theft detection was considered as an image classification issue; thir

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28

Sultonqulova, Shaxnoza. "HARMONY OF POETRY AND ART OF COLOR." MODERN SCIENCE AND RESEARCH 3, no. 2 (2024): 1090–93. https://doi.org/10.5281/zenodo.10694578.

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<em>Fiction is closely related to other types of art. Just as fiction has a strong influence on the development of other types of art, other types of art also have their influence on the development of fiction. That is, literature lives in contact with other types of art and improves under their influence. Colors have always served as a tool of thought, a means of analogy for the artist. The article analyzes the use of color-image language, which is a similar feature of painting and poetry, and the symbolic expression of colors.</em>

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29

Carabine, Keith, and Suresh Raval. "The Art of Failure: Conrad's Fiction." Modern Language Review 83, no. 4 (1988): 984. http://dx.doi.org/10.2307/3730944.

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30

Fournout, Olivier. "Art et science : la fiction enquête." Communication & langages N° 210, no. 4 (2021): 33–57. http://dx.doi.org/10.3917/comla1.210.0033.

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31

FRASER, HILARY. "Women and the Art of Fiction." Yearbook of English Studies 40, no. 1-2 (2010): 61–82. http://dx.doi.org/10.1353/yes.2010.0010.

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32

Stampfl, B. "The Art of Failure: Conrad's Fiction." Modern Language Quarterly 47, no. 4 (1986): 447–49. http://dx.doi.org/10.1215/00267929-47-4-447.

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33

Bortolotti, Stephan Paul. "The Finagling Art of Historical Fiction." Linguistics and Literature Studies 3, no. 3 (2015): 111–19. http://dx.doi.org/10.13189/lls.2015.030305.

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34

Malvern, Sue. "Art and War: Truth or Fiction?" Art History 19, no. 2 (1996): 307–12. http://dx.doi.org/10.1111/j.1467-8365.1996.tb00669.x.

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35

Saint, N. "Art in French Fiction since 1900." French Studies 68, no. 2 (2014): 265–66. http://dx.doi.org/10.1093/fs/knu013.

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36

Gotlieb, Marc. "PEDAGOGICAL DISASTER IN ROMANTIC ART FICTION." French Studies 61, no. 1 (2007): 14–25. http://dx.doi.org/10.1093/fs/knl229.

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37

Gavrilin, K. N., and I. A. Fadin. "Dellshaw's art worlds: truth or fiction?" Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 4-2 (2022): 271–83. http://dx.doi.org/10.37485/1997-4663_2022_4_2_271_283.

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38

Khan, Zahoor Ali, Muhammad Adil, Nadeem Javaid, Malik Najmus Saqib, Muhammad Shafiq, and Jin-Ghoo Choi. "Electricity Theft Detection Using Supervised Learning Techniques on Smart Meter Data." Sustainability 12, no. 19 (2020): 8023. http://dx.doi.org/10.3390/su12198023.

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Due to the increase in the number of electricity thieves, the electric utilities are facing problems in providing electricity to their consumers in an efficient way. An accurate Electricity Theft Detection (ETD) is quite challenging due to the inaccurate classification on the imbalance electricity consumption data, the overfitting issues and the High False Positive Rate (FPR) of the existing techniques. Therefore, intensified research is needed to accurately detect the electricity thieves and to recover a huge revenue loss for utility companies. To address the above limitations, this paper pre

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39

Basu, Manisha. "Thick as Thieves: Mothers, Gypsies, & Criminals in Enola Holmes’ Victorian England." Victoriographies 14, no. 1 (2024): 1–19. http://dx.doi.org/10.3366/vic.2024.0515.

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In her 2006 Young Adult novel, The Case of the Missing Marquess, Nancy Springer narrativises Enola Holmes as Sherlock Holmes’ intrepid and extraordinarily intelligent sister, a young woman with the ability to challenge even that great detective's iconic deductive abilities. I suggest that this overtly feminist impulse in rewriting the Victorian world of Conan Doyle is supplemented in Springer's novel with a nod toward the politics of intersectionality which attends to the ways in which gendered, class-based, and racialised identities become relational in an axiomatics of capitalist-colonialism

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40

Harris, Jennifer. "‘Thieves, Harlots and Stinking Goats’: Fashionable Dress and Aesthetic Attitudes in Romanesque Art." Costume 21, no. 1 (1987): 4–15. http://dx.doi.org/10.1179/cos.1987.21.1.4.

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41

Lee, Nara. "Rethinking Rancière’s Film Theory: Focusing on the Concepts of Fiction and Image." Criticism and Theory Society of Korea 28, no. 3 (2023): 81–99. http://dx.doi.org/10.19116/theory.2023.28.3.81.

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This paper aims to reconsider Rancière’s film theory by examining the meaning of image and fiction in Rancière’s aesthetic art regime. Rancière renews the traditional definitions of image and fiction. What Rancière defines as image and fiction is the action of connecting words and objects in a specific form on the basis of community, connecting individuals and groups and creating a common sense. In the aesthetic art regime since Romanticism, which reflects the equality established between thought and non-thought, consciousness and unconsciousness, active and passive, art and non-art, the image

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42

S, Thulasi. "The Exhibition of the Theft and the Beliefs Associated With it in the "Karisal Region" Short Stories." International Research Journal of Tamil 4, S-4 (2022): 81–86. http://dx.doi.org/10.34256/irjt22s414.

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Through reading, it is understood that modern storytelling in the form of Tamil literature embraces different themes in different forms and the expression of the same. Accordingly, the publication of the short story, which encompasses various forms of emotion, beautifully reveals the living conditions of many oppressed and sublime people from time immemorial outside of his fiction. In an effort to draw attention to the dilapidated manor, which has been subjected to a multifaceted crisis in many ways throughout history by a diverse group of selfish people, particularly the beliefs they hold in

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43

Anyiwo, U. Melissa. "BOOK REVIEW." Art/Research International: A Transdisciplinary Journal 6, no. 1 (2021): 251–59. http://dx.doi.org/10.18432/ari29573.

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Leading methodologist and arts-based researcher, Patricia Leavy, pioneered the method of social fiction, fiction-based research, or fiction as a research practice. Her latest release, Candy Floss Collection, is a set of three previously published novels, which together form installation art. This definitive and beautifully rendered work is important for several reasons. First, it demonstrates the power of fiction as a research method. Second, it is a beautiful piece of art. Third, it centres on powerful content, telling important and often invisible stories about women’s lives, aspirations, re

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44

Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.

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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossi

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45

Rezaei, Tahereh, and Mohsen Hanif. "Political Narrative Fiction and the Responsibility of the Author." International Letters of Social and Humanistic Sciences 76 (March 2017): 43–48. http://dx.doi.org/10.18052/www.scipress.com/ilshs.76.43.

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Art in general and fiction in particular have had close affinities with politics throughout history. When there is a close tie between a narrative fiction and political issues then critics may deem it as “committed fiction”. Political fiction is at the crossroads of political science and the art of fiction. And more often than not, novelists are involved with politics but not all of them are dubbed as or even consider themselves to be political novelists. In this article I attempt to investigate political fiction as a distinct genre produced (un)consciously by a range of (politically committed

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46

João Vicente. "(Mis)Understanding Bach: Fiction, Art and Resistance." Portuguese Studies 33, no. 2 (2017): 185. http://dx.doi.org/10.5699/portstudies.33.2.0185.

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47

Goodwyn, Janet, and Penelope Vita-Finzi. "Edith Wharton and the Art of Fiction." Modern Language Review 87, no. 1 (1992): 181. http://dx.doi.org/10.2307/3732349.

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48

Chambers, Dianne, and Penelope Vita-Finzi. "Edith Wharton and the Art of Fiction." American Literature 63, no. 1 (1991): 135. http://dx.doi.org/10.2307/2926577.

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49

Vicente, João. "(Mis)Understanding Bach: Fiction, Art and Resistance." Portuguese Studies 33, no. 2 (2017): 185–201. http://dx.doi.org/10.1353/port.2017.0003.

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50

Fite-Wassilak, Chris. "Inner Space: Science Fiction and Irish Art." Circa, no. 124 (2008): 36. http://dx.doi.org/10.2307/25564918.

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