Academic literature on the topic 'Auroras in fiction'
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Journal articles on the topic "Auroras in fiction"
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Adami, Valentina. "The Pedagogical Value of Young-Adult Speculative Fiction: Teaching Environmental Justice through Julie Bertagna’s Exodus." Pólemos 13, no. 1 (April 24, 2019): 127–47. http://dx.doi.org/10.1515/pol-2019-0007.
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Abstract The environmental crisis is one of the most pressing societal concerns today. Speculative fiction frequently questions current political, legal and cultural attitudes by portraying future scenarios in which some ecological disaster has changed the world order. Scottish children’s author Julie Bertagna has given her contribution to these speculations on the consequences of letting current trends in environmental behaviour continue unchallenged with her young-adult novel Exodus (2002), part of a trilogy continued in 2007 with Zenith and completed in 2011 with Aurora. This paper explores the pedagogical value of young-adult speculative fiction and examines Bertagna’s survival narrative as a questioning of environmental justice, in the light of contemporary theories on young-adult fiction, ecocriticism and human rights.
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Morris, Andrea Easley. "Tourists, locals, and migrants: linked mobilities in short fiction by Dominican writer Aurora Arias." Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes 40, no. 1 (January 2, 2015): 81–96. http://dx.doi.org/10.1080/08263663.2015.1031494.
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Tabas, Brad. "Hatred of the Earth, Climate Change, and the Dreams of Post-Planetary Culture." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 1 (April 1, 2020): 63–79. http://dx.doi.org/10.37536/ecozona.2020.11.1.3188.
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This text examines the effects of climate change on cultural ideas regarding the colonization of space. More specifically, this paper explores the ways which the looming danger of climate catastrophe has fueled the growth of post-planetary culture: a culture that dreams of a human destiny beyond the Earth. It takes as its object both science fiction texts and non-fiction futurological pronouncements by scientists and entrepreneurs. What emerges from this study is the observation that unlike climate skeptics, post-planetarists believe that climate change is real. Yet like climate skeptics, they subordinate climate action to other priorities, putting the construction of a means of escaping this planet above climate action. But why do these post-planetarists wish to fly? Via a close reading of David Brin’s Earth, we argue that one of the key characteristics of post-planetary culture is a feeling of hatred and alienation towards the Earth. This hatred is both re-enforced by the ravages of climate change even as it contributes to this destruction by blocking post-planetarists from whole-heartedly engaging in climate action. In order to illustrate an antidote to this pathological cultural reaction to our current crisis, I present a close reading Kim Stanley Robinson’s Aurora, exploring how this text is both a critique of post-planetarism and a guide to renewing our love for the Earth.
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Knutsen, Karen Sue Patrick. "Understanding the Psychological Reading Process: Preparing Pre-service ESL Teachers to Become Reading Teachers." Acta Didactica Norge 12, no. 2 (May 29, 2018): 3. http://dx.doi.org/10.5617/adno.6144.
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AbstractThis article addresses the metacognitive skills of pre-service ESL teachers in terms of their future role as reading teachers for intermediate and advanced pupils. Reading is a basic skill in all subjects in the Norwegian National Curriculum and involves engaging in texts, understanding, applying and reflecting on what is read – activities requiring higher level thinking. My research questions are: 1) How can “narrative transportation theory” (Gerrig, 1993) help pre-service ESL teachers understand the psychological reading process? and 2) How can insight into this theory motivate them to become better reading teachers, able to faciliate deep learning through literature? I use Julie Bertagna’s science fiction trilogy (Exodus 2002; Zenith 2007; Aurora 2011) to illustrate how narrative transportation works, highlighting the literary qualities that trigger pleasurable reading through immersion into the storyworld. This choice is based on Sections 1.5 and 2.5.3 in the new “Overarching section – values and principles for mandatory education” (2017) of the national curriculum, which instructs schools to teach pupils about their responsibility in contributing to an ecologically sustainable world order. The trilogy thematizes climate change and can affect behavior and attitudes toward this issue positively; it activates a wide spectrum of emotions, facilitating persuasion. Teachers must, however, remember that reading for pleasure is not enough; they must use metacognitve reading strategies in their teaching of literature to ensure deep learning and reach curricular goals. Keywords: teenage literature, narrative transportation theory, metacogniton, metacognitive reading strategies, Julie Bertagna’s Exodus Trilogy, ecological sustainability, ESL, teaching readingÅ forstå psykologiske leseprosesser: Lærerstudenten som leselærer i engelskfagetSammendragDenne artikkelen handler om lærerstudenters metakognitive ferdigheter i sammenheng med leseundervisningen i engelskfaget. Lesing er en av de grunnleggende ferdighetene i alle fag i Kunnskapsløftet. Dette innebærer å være engasjert i, forstå, bruke og reflektere over det som leses, samt bruk av lesestrategier – dette krever metakognitiv tenkning. Forskningsspørsmålene er: 1) Hvordan kan “narrativ transport-teori” (Gerrig, 1993) hjelpe lærerstudenter i engelskfaget til å forstå den psykologiske leseprosessen? og 2) Hvordan kan kunnskap om denne teorien motivere dem til å utvikle seg som lærere i lesing, med evnen til å fostre dybdelæring gjennom litteratur? Jeg bruker Julie Bretagnas ungdomstrilogi i sjangeren science-fiction (Exodus 2002; Zenith 2007; Aurora 2011), for å illustrere hvordan narrativ transport fungerer, og belyser litterære kvaliteter som setter det i gang. Valget baseres hovedsakelig på Overordnet del av læreplanen (2017) som omtaler “Respekt for naturen og miljøbevissthet” (1.5) og “Bærekraftig utvikling” (2.5.3), der skolen får i oppdrag å lære elever om ansvaret de har for å skape en økologisk bærekraftig utvikling. Trilogien tematiserer klimaendringer og kan påvirke leserens atferd og holdninger. Fortellingen kan igangsette mange følelser, som igjen kan forsterke eller endre leserens overbevisning. Men lærere må huske at lesing som underholdning ikke er nok; de må ta i bruk metakognitive lesestrategier i sin undervisning for å sikre dybdelæring og oppnå læreplanmålene.Nøkkelord: ungdomslitteratur, narrativ transport-teori, metakognisjon, metakognitive lesestrategier, Julie Bertagnas Exodus Trilogy, bærekraftig utvikling, engelsk som annet språk, leseundervisning
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Hussain, Amir. "Me and the Mosque." American Journal of Islam and Society 23, no. 2 (April 1, 2006): 124–25. http://dx.doi.org/10.35632/ajis.v23i2.1634.
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Zarqa Nawaz is a Canadian Muslim filmmaker who lives with her family inRegina, Saskatchewan. There are any number of comments that could beinserted at this point. Having spent time on both the Saskatchewan andManitoba prairies, I note only that Zarqa is developing a television series forthe Canadian Broadcasting Corporation entitled “Little Mosque on thePrairie.” She has made two earlier short films, BBQ Muslims and DeathThreat. Information about those films, as well as about Zarqa, can be foundon her website, Fundamentalist Films, available at www.fundamentalistfilms.com.Me and the Mosque, her first documentary, is distributed by the NationalFilm Board of Canada. The film is directly related to her own concerns as aMuslim woman, namely, as to space available to her in the mosque. The filmbegins on a light-hearted note (as does her web site, with the tag line of “puttingthe fun back into fundamentalism”) with Muslim comic Azhar Usmanjoking about the lack of appropriate space available in mosques for Muslimwomen.The documentary traverses mosques in Canada and the United States,such including places as Aurora, Illinois; Mississauga, Ontario; Winnipeg,Manitoba; Regina, Saskatchewan; Surrey, British Columbia; and Morgantown,West Virginia. It includes the voices of established scholars, amongthem Asma Barlas, Umar Abd-Allah, and Aminah McCloud, alongside thenewer scholarly voices of Aisha Geissinger, Jasmine Zine, and Itrath Syed.In addition, there is a wide range of interviews with people from the Muslimcommunity, from such activists as Asra Nomani and Aminah Assilmi to suchscholars as Abdullah Adhami and Tareq Suwaidan.As mentioned above, the film begins on a humorous note with the comedyof Azhar Usman (of “Allah Made Me Funny” fame). However, what hejokes about, the nice “dungeons” that many people mention when they talkabout the basements where some mosques give space to women, is no laughingmatter. The film then moves to the mosque in Aurora to begin its discussionof these issues. I would like to think that this is Zarqa’s subtle homageto another Canadian filmmaker, Mike Myers, who bases his fictional character,Wayne Campbell, in Aurora. Zarqa then mentions her upbringing inToronto and contrasts the mosque that she attended (the Jami’ Mosque) while ...
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Sharrad, Paul. "The art in fiction: Thomas Keneally." Journal of Commonwealth Literature, October 4, 2020, 002198942096182. http://dx.doi.org/10.1177/0021989420961820.
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The article picks up references to novelist Thomas Keneally’s interest in painting and tracks his uses of artists and painting in selected fiction. Visual art supplies style and thematic depth to Bring Larks and Heroes, is integral to the complexity underpinning the murder-mystery of A Victim of the Aurora, allows narrative perspective and structural coherence in Confederates, and connects with elements in The Daughters of Mars that echo the novelist’s positioning of his work across both Europe and Australia, and between commercial and literary fiction.
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Penteliuk, Kayla Marie. "‘Come with me, sweetest sister’: Unravelling the Enigma of Sacred Sisterhood in Aurora Leigh by Elizabeth Barrett Browning and “Goblin Market” by Christina Rossetti." USURJ: University of Saskatchewan Undergraduate Research Journal 4, no. 2 (April 18, 2018). http://dx.doi.org/10.32396/usurj.v4i2.309.
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Throughout the Victorian era, Elizabeth Barrett Browning and Christina Rossetti occupied a prominent position in a newly emerging female literary movement. Both authors sought to resist and revise the limitations of Victorian womanhood through the composition of controversial works that rivalled the achievements of their male contemporaries. In the 1856 epic Aurora Leigh by Elizabeth Barrett Browning and the 1862 narrative poem “Goblin Market” by Christina Rossetti, both Barrett Browning and Rossetti employ an early feminist perspective to explore the parameters of Victorian sisterhood and the potential strength of female friendship. Although Laura, Lizzie and Jeanie in Rossetti’s work possess a sororal relationship that is distinct from Marian Erle and Aurora Leigh’s relationship in Barrett Browning’s work, the innumerable connections between both publications have caused critics to compare and hierarchize the two authors. Thus, a literary sisterhood has developed between Barrett Browning and Rossetti that curiously mirrors the sisterhoods of their fictions. This paper seeks to assess the inescapable presence of sisterhood in Aurora Leigh and “Goblin Market” by analyzing the manner in which a sisterly connection, not only through blood relations but also through close friendships that resemble sisterhood, allowed female forces to be allied, nurtured, and empowered amidst the patriarchal and misogynist structures of mid-nineteenth century Britain.
Dissertations / Theses on the topic "Auroras in fiction"
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Roig, Sílvia. "AURORA BERTRANA: UNA TRAYECTORIA LITERARIA MARCADA POR LA PERSPECTIVA DE GÉNERO." UKnowledge, 2013. http://uknowledge.uky.edu/hisp_etds/18.
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My dissertation explores the narrative of Aurora Bertrana (1892-1974), an unknown writer today, but a successful and recognized female author in Catalonia and Spain during the mid 20th century. The written work of Aurora Bertrana is almost never mentioned in manuals of literature. Relegated almost to absolute oblivion, her rich, intellectual writting has not received the attention it deserves. I have studied seventeen of Bertrana’s novels –practically her entire oeuvre– written in Catalan and Spanish, including the following excellent books that have escaped critical attention: Ariatea (1960), “El pomell de les violes” (mn.), L’inefable Philip (mn.), La aldea sin hombres (mn.), La madrecita de los cerdos (mn.), Entre dos silencis (1958), La ninfa d’argila (1959), Fracàs (1966) and La ciutat dels joves: reportatge fantasia (1971). I have analyzed her writing, published and unpublished, from a feminist approach, taking into account the intellectual history of Spain and Catalonia. Bertrana’s strong commitment to controversial, social issues reveals her association with the modern and noucentists Catalan trends of her time. Her novels also reveal a unique interest in Europe at war and in non-Western cultures and lifestyles that draws attention to the situation of women in different circumstances and cultural geographies. My research is therefore anchored on interpretive and theoretical parameters that intersect, with a consideration of gender, such as class-and-gender, war-and-gender and travel-and-gender. I have used the work of feminists such as Simone De Beauvoir, Shulamith Firestone, Jelke Boesten, Margaret and Patrice Higonnet, Michelle Zimbalist Rosaldo, and Julia Kristeva to help assess Bertrana’s engagement with gender and socio-political issues. This approach is particularly well suited for a writer like Aurora Bertrana, a Catalan and Republican intellectual woman forced into exiled during the Spanish Civil War and the dictatorship of Francisco Franco.
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Plante, Mélina. "De Aurore à Aurore : la représentation de l'enfant dans le cinéma québécois de fiction pour adultes, 1951-2005." Mémoire, 2006. http://www.archipel.uqam.ca/2116/1/M9172.pdf.
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L'enfant est devenu, au cours du XXe siècle, le centre des préoccupations sociales. Les sociétés occidentales en ont fait un objet de recherche en même temps qu'un sujet à chérir et à protéger. En témoignent l'adoption de la Déclaration des droits de l'enfant par l'Organisation des Nations Unies en 1959, la proclamation d'une Année internationale de l'enfance -1979 -, de même que la floraison d'ouvrages scientifiques concernant l'enfant. Le Québec participe de ce même courant: la mise en place d'outils juridiques en faveur de la protection de l'enfance, depuis les années cinquante, ainsi que les diverses réformes qu'a connues le système d'éducation québécois depuis la Révolution tranquille traduisent cet intérêt. Les lieux communs définissant la conception contemporaine occidentale de l'enfant -partagée par le Québec -pourraient s'énoncer comme suit: pureté, innocence, spontanéité, vulnérabilité, droits et protection de l'enfant. Le cinéma québécois, lieu culturel propice au reflet de réalités sociales, donne pourtant de l'enfant une image différente. Celui-ci grandit dans une famille dysfonctionnelle, souffre de négligence parentale et semble excessivement lucide. Dans la mesure où le cinéma participe à la culture d'une société et à la construction de représentations identitaires, la figure de l'enfant, symbole de continuité et de renouvellement, mérite d'être questionnée. Ce mémoire a donc pour but de dégager la représentation de l'enfant faite par le cinéma québécois de fiction pour adultes et de discuter de celle-ci en regard de la vision contemporaine occidentale de l'enfant. Nos recherches nous ont permis d'identifier quatorze films dans lesquels un enfant tient un rôle principal, depuis La petite Aurore l'enfant martyre (Bigras, 1951) jusqu'à Le ciel sur la tête (Lefebvre et Melançon, 2001). Tous ces films constituent notre corpus filmique. Notre recherche s'appuie sur les savoirs relatifs à l'enfant -histoire, psychologie, droit -, à la représentation de l'enfant, à l'histoire du cinéma québécois et au langage cinématographique. Au moyen d'une analyse de type sémiotique, nous interrogerons la représentation de l'enfant sous diverses facettes: le personnage d'enfant lui-même, ses milieux d'appartenance -famille, école, société -, les rapports qu'il entretient avec eux, de même que les thématiques et enjeux qui lui sont liés dans les films. La figure dominante de l'enfant qui ressort de l'analyse porte les traits suivants: il s'agit d'un être égocentrique, asocial, ne fréquentant ni l'école ni ses semblables, capable d'une pensée et d'un discours lucides, grandissant dans une famille aliénante et n'ayant ni passé ni futur. Cette image de l'enfant, en décalage par rapport à la vision contemporaine occidentale de l'enfant, nous amène à dire que le personnage enfantin est un prétexte pour exprimer une vision du monde propre à l'adulte. Elle est en cela tout à fait cohérente avec les valeurs qui caractérisent la génération qui l'a construite, soit celle des baby-boomers: jeunesse éternelle, rupture par rapport au passé, liberté individuelle et amour pour soi-même. L'adhésion de la critique et du public québécois à une telle figure soulève des interrogations quant à la place qu'a l'enfant dans la société québécoise et quant à la valeur qu'ont, pour les Québécois, la continuité et le legs aux générations futures.
Books on the topic "Auroras in fiction"
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ill, Bowman Leslie W., ed. The fiddler of the Northern Lights. New York: Cobblehill Books, 1996.
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Kinsella, W. P. The secret of the northern lights. Saskatoon, Sask: Thistledown Press, 1998.
Find full textBook chapters on the topic "Auroras in fiction"
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Robinson, Amy J. "Mary Elizabeth Braddon's Aurora Floyd." In A Companion to Sensation Fiction, 160–71. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444342239.ch12.
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Fantina, Richard. "Sensational Paradigms: Reade’s Griffith Gaunt and Braddon’s Aurora Floyd." In Victorian Sensational Fiction, 125–46. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230102156_5.
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Milner, Andrew, and J. R. Burgmann. "The Critical Dystopia in Climate Fiction." In Science Fiction and Climate Change, 99–121. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621723.003.0005.
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This chapter develops an account of critical cli-fi dystopias that exhibit, by turn, each of five ideal-typical responses to climate change: denial, mitigation, negative adaptation, positive adaptation, and Gaian deep ecological anti-humanism. The texts analysed include Ian McEwan’s Solar, Kim Stanley Robinson’s 2312 and Aurora, Cormac McCarthy’s The Road, Jean-Marc Ligny’s AquaTM, David Mitchell’s The Bone Clocks, Margaret Atwood’s Oryx and Crake and The Year of the Flood, Claire Vaye Watkins’s Gold Fame Citrus, Brian Aldiss’s Helliconia trilogy and Frank Schätzing’s Der Schwarm.
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Erchinger, Philipp. "The Making of Sensation Fiction." In Artful Experiments, 216–58. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474438957.003.0009.
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The argument of this chapter is that the writing of sensation fiction was itself part of the critical endeavour to make sense of the enormous excitement that it produced. There is, in other words, a tendency towards self-investigation and self-reflection inherent in the sensational imagination. Mary Elizabeth Braddon’s Lady Audley’s Secret and Aurora Floyd, for instance, seem to read and review, repeatedly, the very art that constitutes them. In accordance with Braddon’s letters to Edward Bulwer-Lytton, these novels, being engaged in a quest for their own meaning and social function, are uncertain about the very sensational effects that they helped to create. Likewise, the stories of Wilkie Collins’s Armadale and The Moonstone contain within themselves various models of the creative activity through which they were assembled and made into their characteristically suspended, drawn-out shape. By means of such models, the chapter argues, Collins’s writing makes itself legible, between the lines, as an experimental practice that composes its form as it goes along, rather than on the basis of a predefined plan.
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Hingston, Kylee-Anne. "Sensing Bodies: Negotiating the Body and Identity in Mary Elizabeth Braddon’s Aurora Floyd and Wilkie Collins’s The Moonstone." In Articulating Bodies, 77–108. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620757.003.0004.
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This chapter illustrates how mid-Victorian sensation fiction responds to anxieties exacerbated by nascent Victorian psychology’s attempt to map the self on the corporeal body. Examining the form and focalization of Mary Elizabeth Braddon’s Aurora Floyd (1862–63) and Wilkie Collins’s The Moonstone (1868), this chapter argues that bodies in sensation fiction function both as spectacle, exhibitions of physical instability, and as specimens, case studies on the source of identity. In Aurora Floyd, focalization through an authoritative external perspective provides ‘correct’ interpretations of bodies which have previously been misinterpreted by physiognomy, phrenology, and lineage. In particular, the narrator uses external focalization on disabled villains to manifest how identity appears in bodies and to place eugenic value on those with healthy bodies. By contrast, The Moonstone, lacking authoritative external focalization due to its multiple first-person narrators, uses plot to reveal misinterpretations of disabled bodies, in particular that of Rosanna Spearman. In addition, internally focalized interactions between normate narrators and disabled characters in the novel often cause the narrators to recognize the instability of their own identities and bodies, and thus of normalcy. However, the novel’s overall narrative structure works to control deviance through linearity, which imposes normalcy as a stable, final result.
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Rappoport, Jill. "Fictions of Reciprocity in Jane Eyre and Aurora Leigh." In Giving WomenAlliance and Exchange in Victorian Culture, 45–67. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:oso/9780199772605.003.0002.
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Markovits, Stefanie. "Afterword." In The Victorian Verse-Novel. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198718864.003.0007.
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“Afterword: Adulterated Verse, the Modernist Remix,” reflects on the legacy of the Victorian verse-novel by addressing the genre’s substantial influence on modernist fiction. Circling back to the beginning, the Afterword considers Virginia Woolf’s response to Aurora Leigh in her essays and in The Waves (both 1831). It then returns to the topic of Chapter 1 by looking at how adultery enters a series of high modernist novels accompanied both by nods to some of the Victorian poems considered in the previous pages and by the same kinds of formal fracturing that are characteristic of the verse-novel genre. By locating traces of verse-novels in works such as Henry James’s The Golden Bowl and James Joyce’s Ulysses, the Afterword shows how, rather than a literary dead end, the Victorian verse-novel was a brave new beginning for generic experimentation.