Relevant bibliographies by topics / Assassins – Fiction

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Assassins – Fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "Assassins – Fiction"

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Jatmiko, Rahmawan. "Fictional Characters’ Heroism in Assassin’s Creed III Video Game in the Perception of Indonesian Video Gamers." NOBEL: Journal of Literature and Language Teaching 8, no. 1 (April 3, 2017): 35–48. http://dx.doi.org/10.15642/nobel.2017.8.1.35-48.

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Assassin’s Creed is a historical fiction video game developed and published by Ubisoft. This video game has been so far considered as one of the most violent video games. Assassin’s Creed III is the third sequel of which plot is set in a fictional history of real world events and follows the centuries-old conflict between the Assassins and the Templars. Based on this study, the plot, characters, characterization, and scenes in Assassin’s Creed III are deemed to be able to give positive teachings to the young generation, despite the fact that there are violent and sadistic scenes in the story. Haytham Kenway, who is “evil” protagonist in Assassin’s Creed Forsaken, is portrayed as an expert in using weapons, since he was kid. Separated from his family, Kenway was taken by mysterious mentor, who trained him to be the most deadly killer. Comparisons with classic characters such as Oedipus, Hamlet, or Indonesian legendary character Sangkuriang are intentionally made to sharpen the analysis. The finding of this study is that heroic value might be found in either protagonist or antagonistic characters, whose roles involved numerous violent actions. Comments from the official website and social media which claim that Assassin’s Creed has brought negative impacts on the consumers might not be totally true.
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Komel, Mirt. "Re-orientalizing the Assassins in Western historical-fiction literature: Orientalism and self-Orientalism in Bartol’sAlamut, Tarr’sAlamut, Boschert’sAssassins of Alamutand Oden’sLion of Cairo." European Journal of Cultural Studies 17, no. 5 (January 7, 2014): 525–48. http://dx.doi.org/10.1177/1367549413515253.

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Nandi, Swaralipi. "Delineating Delhi: Spaces of the Neoliberal Urbanism in Tarun Tejpal’s The Story Of My Assassins." Studies in Linguistics and Literature 5, no. 4 (November 22, 2021): p105. http://dx.doi.org/10.22158/sll.v5n4p105.

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Recent Indo-Anglican literature has also seen a burgeoning of the genre of urban crime fictions set against the backdrop of India’s modernizing metropolises. While explorations of the contemporary Indian city mostly consists of non-fictional, journalistic writings, like Katherine Boo’s Pulitzer winning book Behind the Beautiful Forevers, William Dalrymple’s City of Djinns and Suketu Mehta’s Maximum City, the genre also includes fictions like Altaf Tyrewala’s critically acclaimed debut novel No God in Sight, Vikram Chandra’s bestseller Sacred Games, Tarun Tejpal’s The Story of My Assassins, Hrish Sawhney’s volume of short stories Delhi Noir, Atish Tasser’s The Templegoers and others, which deal with the dark underside of the cities. Significantly, as rapid urban growth deepens existing disparities, a distinct rhetoric conflating impoverishment and criminality emerges, further justifying the exclusion of certain sections from the vision of urbanism. This paper looks at the representation of Delhi in Tarun Tejpal’s novel The Story of My Assassins, as a dystopic space riddled with contradictions of.
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Sołodki, Paweł. "Digital docu-games, czyli cyfrowe gry dokumentalne." Panoptikum, no. 24 (October 20, 2020): 10–27. http://dx.doi.org/10.26881/pan.2020.24.06.

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In this paper, I would like to take a closer look at the hybrid genre of digi­tal documentary (“docu-game”), which is part of a larger group, the so-called “serious games”. Documentary games are both game-specific (rules, levels, op­ponents, measurable progress, rewards, etc.), and are also strongly based on the facts, playing educational and activist roles. They can be available through browsers, similar to hypertext websites, but are often designed for stationary or mobile consoles. In terms of genres, a significant range can also be observed: platform games, like Never Alone (2014, E-Line Media), adventure games: Val­iant Hearts: the Great War (2014: Ubisoft) or 1979 Revolution (2014, N-Fusion), strategic games: This War of Mine (2014, 11bit studios), RPG (educational mode in Assassin’s Creed: Origins [2017] and Assassin’s Creed: Odyssey [2018]), or even survival horror: Kholat (2015, IMGN.PRO). The titles I describe present dif­ferent approach to factual sources: they add documentary footage as cutscenes (Never Alone), they build narration around real events and characters, and make the player’s avatar a fictional character (1979 Revolution), they base the game mechanics on the logic of events in well-defined real circumstances (This War of Mine). Since the works based on a genre-specific hybrid strategy occupy an important place in today’s audiovisual landscape, I think it would be worth fur­ther examining this “incompatible” area: a documentary, traditionally combined with truth and seriousness, and digital games, usually associated with fiction and entertainment.
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Lind, Stephanie. "Music as temporal disruption in Assassin’s Creed." Soundtrack 11, no. 1 (August 1, 2020): 57–73. http://dx.doi.org/10.1386/ts_00005_1.

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The Assassin’s Creed video game series incorporates real-world historical elements. While some historically derived musical elements are referenced from the time period and geographic setting of the game, in the first game of the series, Assassin’s Creed 1 (2007), these historical snippets are subsumed within a modern musical setting emphasizing digital sound. The effect is a bleeding-over of ancient with modern that mirrors the plot of the game. This new spin on the time travel narrative creates a disconnect for the player and invokes disruption in a number of ways: through plots, visual distortions and sound/music effects. Musically, disruptions invoke a sense of aural discomfort in the player, which mimics aspects of the game narrative such as the protagonist’s physical distress. In order to better understand the interrelationship between these components, this article uses graphic transcriptions to categorize the musical, visual and narrative functions into fiction, interface and hypervisual/hypersonic components.
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Hembrough, Tara. "From an Obscured Gaze to a Seeing Eye? Iris as Victim, Villain, and Avenger in the Role of Writer-as-Assassin in Margaret Atwood’s The Blind Assassin." SAGE Open 7, no. 1 (January 2017): 215824401668893. http://dx.doi.org/10.1177/2158244016688933.

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In the postmodern period, first-person-limited, unreliable, female narrators may have a greater difficulty in “seeing” and, thus, depicting their landscapes than previous eras’ storytellers. Iris (Chase) Griffen, narrator-protagonist of Margaret Atwood’s The Blind Assassin, spins a complicated, self-reflective text exploring her attempts at composing a world vision that consumes the novel’s larger part. Iris’s search for answers about her identity as well as that of other characters may leave readers in the lurch, waiting for their “story,” in Ross Chambers’s terms, as an agreed-upon product. Nonetheless, having amassed assorted textual materials, Iris stockpiles the ammunition she needs to do her “job” as a storyteller-assassin who creates and destroys, as characters suffer a fall. Assuming guises dependent on location, Iris enacts the conflicting roles of a victim, social product, villain, and blind assassin to assault her culture’s masculinist architectures that bar women’s points of views in opposition to what Henry James presents as the unending panoramas offered by his metaphorical “House of Fiction.” Iris’s struggle to construct her life story mirrors the difficulty many women face more broadly, in which they face competing, irreconcilable values. In the novel, Iris’s ability to play differing parts with equal aplomb compels readers to view her as a complex narrator, constructing and assassinating fellow characters to render her female descendants’ fates as open ended.
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Labudová, Katarína. "Wise Children and The Blind Assassin: fictional (auto)biographies." Brno studies in English, no. 2 (2016): [21]—34. http://dx.doi.org/10.5817/bse2016-2-2.

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Kistler, Jordan. "A POEM WITHOUT AN AUTHOR." Victorian Literature and Culture 44, no. 4 (November 4, 2016): 875–86. http://dx.doi.org/10.1017/s1060150316000255.

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These lines begin an “Ode” which has permeated culture throughout the last hundred years. In 1912, Edward Elgar set it to music, as did Hungarian composer Zoltán Kodály in 1964, to commemorate the 700th anniversary of Merton College, Oxford. In 1971, Gene Wilder spoke the opening lines as Willy Wonka in the film Willy Wonka & the Chocolate Factory. The words appear as epigraphs in an eclectic range of novels, including science fiction (Raymond E. Feist's Rage of a Demon King), fantasy (Elizabeth Haydon's The Assassin King), and historical fiction (E. V. Thompson's The Music Makers). They are quoted in an even more varied selection of books, including travelogues (Warren Rovetch's The Creaky Traveler in Ireland), textbooks (Arnold O. Allen's Probability, Statistics and Queueing Theory and R. S. Vassan and Sudha Seshadri's Textbook of Medicine), New Age self-help books (Raven Kaldera's Moon Phase Astrology: The Lunar Key to Your Destiny), autobiographies (Hilary Liftin's Candy and Me, a Love Story) and pedagogical guides (Lindsay Peer and Gavin Reid's Dyslexia – Successful Inclusion in the Secondary School).
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Boutonnet, Vincent, and David Lefrançois. "Négocier le sens entre histoire et fiction : analyse transversale de la série Assassin’s Creed." Essais, no. 15 (October 15, 2019): 25–41. http://dx.doi.org/10.4000/essais.1377.

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Gbanou, Sélom Komlan. "Azzédine Bounemeur ou la guerre d’Algérie en questions." Études littéraires 35, no. 1 (September 20, 2004): 73–86. http://dx.doi.org/10.7202/008634ar.

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Résumé Après des années de silence, la guerre d’Algérie (1954-1962) gagne de plus en plus l’actualité politique et met la France devant ses responsabilités dans la lutte de souveraineté qui l’a opposée au nationalisme algérien. Toutes les étapes d’une « sale guerre » ont été franchies durant ces huit ans : intoxications, propagande, assassinats, tortures, massacres collectifs, etc. comme on le lit dans les oeuvres historiques ou littéraires. Mais si plusieurs écrivains se sont inspirés de cette période, très peu, par contre, en auront fait le motif singulier de toute leur écriture. L’analyse s’articule autour de Azzédine Bounemeur – l’auteur algérien le plus dévoué à la cause de la Guerre d’Algérie – qui propose, par-delà la fiction, une histoire chronologique et fortement épique du nationalisme algérien.
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Dissertations / Theses on the topic "Assassins – Fiction"

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Monti, Tony. "Escritores e assassinos - urgência, solidão e silêncio em Rubem Fonseca." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-30092011-162517/.

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Esta tese pretende entender a literatura violenta de Rubem Fonseca a partir da comparação entre personagens assassinos e personagens artistas das coletâneas de contos Lúcia McCartney (1967), Feliz ano novo (1975) e O cobrador (1979). Na estrutura das narrativas são destacados os elementos \"urgência\", \"solidão\" e \"silêncio\" como marcas de uma inextensão generalizada que baliza as ações dos personagens e promove uma sensação de aprisionamento no tempo presente. O universo ficcional é confrontado com o contexto histórico definido por um regime político autoritário e um processo acelerado de modernização industrial. Destaca-se nos livros analisados a busca por um narrador que possa lidar com as transições rápidas que caracterizam a atividade dos personagens, e com um tempo extenso necessário à narrativa e à reflexão sobre a violência.
This thesis aims to understand the violent writings by Rubem Fonseca, based on the comparison between the assassins and the artists as characters on the short stories presents in the books Lúcia McCartney (1967), Feliz ano novo (1975) and O cobrador (1979). From the structure of the narratives, the elements \"urgency\", \"lonelyness\" and \"silence\" are highlighted as signs of a generalized lack of extension that shapes the actions of the characters and promotes the sense of incarceration in the present. The fictional universe is confronted with an historical context defined by an authoritarian political regime and an accelerated process of industrial modernization. It is noteworthy in the analyzed books the search for a narrator that deals with the quick transitions that define the activity of the characters, and with an extense time, needed by the narrative and for the reflection on violence.
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Perrone, Lia. "L'affaire Moro : histoire et fiction." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2021.

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Le 16 mars 1978, à Rome, les Brigades Rouges enlèvent l’ancien président du Conseil Aldo Moro, qui sera assassiné par les terroristes après une longue séquestration. Cet épisode a fortement marqué l’histoire récente de l’Italie, mais sa lecture reste controversée en raison des zones d’ombre qui entourent les faits aujourd’hui encore, suscitant un réel besoin de compréhension des évènements. En réponse à ce besoin, des écrivains et artistes provenant de milieux différents se sont emparés au fil du temps de l’histoire d’Aldo Moro pour en donner leur propre lecture et proposer ainsi une « autre » interprétation, qui pose un regard nouveau sur les faits. Ainsi l’affaire Moro a été transformée en objet narratif au croisement entre l’histoire et la fiction. Dans cette thèse nous étudions la transformation de l’enlèvement et de l’assassinat d’Aldo Moro en événements et en récit de ces événements. Par ailleurs, nous réfléchissons au potentiel heuristique de ces réécritures en nous interrogeant sur leurs implications mémorielles. Le premier apport critique de notre travail consiste à donner une systématisation aux narrations de l’affaire Moro produites de 1978, au lendemain des événements, à 2013, trente-cinquième anniversaire de la mort de l’homme politique : romans divers et variés, pamphlets, autobiographies, livres de mémoires, pièces de théâtre, films. Ce corpus extrêmement composite constitue désormais une « macronarration transmédiatique » organique et mérite de ce fait d’être considéré dans son ensemble. Pour définir les caractéristiques de la macronarration, nous conduisons une analyse approfondie ainsi qu’un examen comparatif des textes : en ayant recours aux apports multiples de la narratologie, nous évaluons les aspects formels des réécritures de l’affaire Moro, observons la transformation d’Aldo Moro de figure historique en personnage de fiction et étudions le dialogue transmédiatique, intra- et interdisciplinaire entre les œuvres de fiction et, le cas échéant, entre ces œuvres et les discours historiographiques et journalistiques, ainsi qu’avec les témoignages de quelques-uns des protagonistes des événements. En faisant référence aux apports théoriques de l’esthétique de la réception, nous interprétons également les relations entre l’auteur, l’œuvre et le public avec l’objectif d’approfondir et de mettre à jour la question des influences réciproques entre réécritures de l’affaire Moro et imaginaire collectif
On March 16, 1978, the Red Brigades kidnap the former President of the Council of Ministers Aldo Moro, who will be assassinated by the terrorists after a long sequestration. This episode has strongly marked the recent history of Italy, but its interpretation remains controversial because of the gray areas that still surround the facts that need clarifications. In response to this need, writers and artists from different backgrounds have looked into the history of Aldo Moro in order to cast a new light on it and give "further" interpretations. Thus the Moro case has been transformed into a narrative object at the crossroads between history and fiction. In this thesis we study the transformation of the abduction and murder of Aldo Moro into events and their narration. In addition, we reflect on the heuristic potential of these rewritings by asking about their memory implications. Our first critical contribution is to give a systematization to the narratives of the kidnap and murder of Aldo Moro produced starting from 1978, in the aftermath of events, up to 2013, the thirty-fifth anniversary of the death of the politician: novels, pamphlets, autobiographies, memoir books, plays, movies. This extremely composite corpus is by now an organic "transmediatic macro-narration" and it deserves to be considered as a whole. To define the characteristics of this macro-narration, we conduct an in-depth analysis but also a comparative examination of the texts. By resorting to the multiple contributions of narratology, we evaluate the formal aspects of the rewrites of the Moro case and, at the same time, we observe the transformation of Aldo Moro from an historical figure to a fictional character. In addition, we study the intra and interdisciplinary dialogue between works of fiction and, where appropriate, between these works and historiographical and journalistic discourses. With regard to the theoretical contributions of the aesthetics of reception, we also interpret the connections between the author, the work and the audience with the aim of deepening and updating the question of the reciprocal influences between the rewritings of the Moro case and the collective imagination
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Lee, Yi-Pei. "La poétique du "bizarre" et de "la surprise" dans la prose d'imagination de Guillaume Apollinaire." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA040/document.

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Guillaume Apollinaire est incontestablement l’un des poètes français les plus célèbres du XXe siècle. Celui qui a participé aux mouvements d’avant-garde et écrit des poèmes comme «Le Pont Mirabeau» et «La Chanson du Mal-Aimé», s’est pourtant livré à une autre activité littéraire moins connue du grand public. En effet, la «prose d’imagination»—contes et romans—de l’écrivain est conçue dans les règles de «l’esprit nouveau», et selon une poétique de « la surprise » qui caractérise aussi ses vers. Friand de curiosa et de bizarreries de toutes sortes, le prosateur Apollinaire manifeste une prédilection pour les hérétiques, les aventuriers, les maniaques, les poètes disgracieux et les artistes originaux. Il n’a pas peur d’aborder des sujets étonnants, voire hétérodoxes, à la recherche du renouvellement esthétique. Cette écriture très particulière peut s’inscrire dans une certaine lignée de la littérature, parmi les genres et les ouvrages des auteurs voués à ce qui est fantastique, mystérieux, anticlérical ou subversif. Comme la vie et l’œuvre sont inséparables dans le monde apollinarien, il est naturel que la curiosité et le goût du bizarre de l’écrivain laissent des empreintes dans sa bibliothèque personnelle, ses agendas et dans ses chroniques anecdotiques. Et c’est effectivement dans le domaine du journalisme que se trouvent maintes «authentiques faussetés» d’un Apollinaire conteur, qui excelle à mêler le réel et l’imaginaire. Une telle tendance fusionnelle se traduit aussi par le mélange des genres artistiques et littéraires dans sa fiction, laquelle témoigne d’une volonté d’inventer au-delà de certains «modèles», de créer une nouvelle esthétique libre de contraintes formelles, tout en restant fidèle aux principes défendus par le poète Guillaume Apollinaire
Guillaume Apollinaire is undoubtedly one of the most famous French poets of the twentieth century. However, apart from being a key figure in the early avant-garde movements and the author of The Mirabeau Bridge (“Le Pont Mirabeau“) and The Song of the Ill-Beloved (“La Chanson du Mal-Aimé“), the poet played another literary role less known to the public today. In fact, the “imaginative prose” (“la prose d’imagination“)—short stories and novels—of Apollinaire was written in the spirit of “l’esprit nouveau“ and in accordance with a poetics of “surprise“ which also shaped his poetry. Being an avid reader of curiosa and other unusual texts, the prosateur Apollinaire had a predilection for heretics, rogues, maniacs, ungraceful poets and eccentric artists. He was not afraid to write about shocking or unconventional subjects while aiming for aesthetic renewal. This very distinctive fiction writing belongs probably to a certain tradition in literature, where Apollinaire and some of his works remain among the genres and the authors who devoted themselves to fantastic tales, mysteries, anticlerical stories or other subversive texts. Since worldly experience and literary enterprise are inseparable in Apollinaire’s world, it is natural to notice many signs of the writer’s curiosity and his taste for the bizarre in his private library, his journals and his magazine columns. In fact, a large number of the so-called “true falsities“ (“authentiques faussetés“)—a term invented by Apollinaire himself who, as a brilliant raconteur, excelled in mixing reality with fantasy—can actually be found in the writer’s journalistic writing. As for his work of fiction, a similar tendency for mixing also reveals itself in the fusion of different artistic and literary genres. The “imaginative prose“ shows the author’s will to invent out of some existing “frameworks“, to create a new aesthetic free of genre constraints, while remaining faithful to the principles defended by the poet Guillaume Apollinaire
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Books on the topic "Assassins – Fiction"

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Assassins. London: Minerva, 1993.

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Mosley, Nicholas. Assassins. Normal, IL: Dalkey Archive Press, 1997.

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B, Jenkins Jerry, ed. Assassins. Wheaton, Ill: Tyndale House Publishers, 1999.

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Leigh, Stephen. Assassins' dawn. New York: Daw Books, 2013.

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Chapman, Clay McLeod. Academic assassins. Los Angeles: Disney * Hyperion, 2015.

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LaHaye, Tim F. Assassins. Carol Stream: Tyndale House Publishers, Inc., 2007.

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Robert, Wilson. The hidden assassins. Orlando, Fla: Harcourt, 2007.

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Rigolosi, Steven A. Circle of assassins. Ridgewood, NJ: Ransom Note Press, 2007.

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Robbins, David L. The assassins gallery. New York: Random House, 2006.

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Duel of assassins. New York: Pocket Books, 1991.

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Book chapters on the topic "Assassins – Fiction"

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Thompson, Hannah. "Blind Assassins." In Reviewing Blindness in French Fiction, 1789–2013, 145–64. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-43511-8_7.

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Mukherjee, Souvik. "An Assassin Across Narratives: Reading Assassin’s Creed from Videogame to Novel." In New Directions in Popular Fiction, 387–404. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-52346-4_19.

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Strehle, Susan. "The Incandescent Home: Margaret Atwood’s The Blind Assassin." In Transnational Women's Fiction, 53–76. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583863_3.

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Wisker, Gina. "Rewriting History and Myth: The Blind Assassin (2000), The Penelopiad (2005)." In Margaret Atwood: An Introduction to Critical Views of Her Fiction, 132–46. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35795-2_9.

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Dölker, Christian, and Lorenz Trein. "»But try to remember, this is a work of fiction.« Zur Fiktionalisierung von Religion in Assassin’s Creed." In Religion und Literatur im 20. und 21. Jahrhundert, 667–80. Göttingen: V&R Unipress, 2015. http://dx.doi.org/10.14220/9783737003759.667.

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"Before Mexican Crime Fiction:." In Artful Assassins, 9–36. Vanderbilt University Press, 2010. http://dx.doi.org/10.2307/j.ctv16b78g7.5.

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"Chapitre I. Les spoliateurs, entre fiction et réalité." In Assassins des pauvres, 21–50. Turnhout, Belgium: Brepols Publishers, 2019. http://dx.doi.org/10.1484/m.hama-eb.5.119323.

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"18 The Assassins in Fact and Fiction: The Old Man of the Mountain." In Islam and the Crusades, 334–51. Edinburgh University Press, 2021. http://dx.doi.org/10.1515/9781474485920-021.

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"The Blind Assassin." In The Political in Margaret Atwood’s Fiction, 133–42. Routledge, 2016. http://dx.doi.org/10.4324/9781315554471-11.

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"Keeping Secrets, Telling Lies: Fictions of the Artist and Author in Cat’s Eye and The Blind Assassin." In Margaret Atwood and the Female Bildungsroman, 127–40. Routledge, 2017. http://dx.doi.org/10.4324/9781315249735-17.

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