Academic literature on the topic 'Belize, fiction'

Purpose The purpose of this study is to explore the perceptions of key actors in the Caribbean’s hotel industry on the development of business models that are inclusive of the sustainable development goals (SDGs) and resilient to climate change challenges. The objectives are to gain a better understanding of the central actors’ perspective and to explore the potential of scenario thinking as a pragmatic tool to provoke deep and practical reflections on business model innovation. Design/methodology/approach The research is based on a questionnaire survey conducted via email to senior personnel in the hotel industry across the region as well as to national and regional tourism and hospitality associations/agencies and government ministries. The questionnaire used a mix of close- and open-ended questions, as well as fictional scenarios to gain insight about perceptions from key actors in the tourism sector, including respondents’ personal beliefs about the reality of climate science and the need for action at the levels of individuals, governments, local, regional and multinational institutions. Findings The study found that while the awareness of climate change and willingness to action is high, respondents perceive that hotels are not prepared for the climate crisis. Respondents had an overall view that the hotel sector in the Caribbean was unprepared for the negative impacts of climate change. Recommendations from the study include the need for immediate action on the part of all to both raise awareness and implement focused climate action to secure the future of tourism in the Caribbean. Research limitations/implications The use of a survey has considerable challenges, including low response rates and the limitations of using perceptions to understand a phenomenon. The survey was conducted across the Caribbean from The Bahamas to Belize and down to Trinidad and Tobago so that views from across the similar, yet diverse, regions could be gathered, included and compared for a comprehensive view of perceptions and possible ideas for climate smart action. Practical implications The 2030 Agenda for SDGs is based on policy and academic debates. This study helps to bridge the academic and policy discussion with the needs of the industry. Originality/value This study contributes a consideration for climate-resilient business models for hotels in the tourism industry as a definitive action toward achieving SDG 13. This combined with the use of fictional climate change scenarios to access perceptions about the future of the hotel industry in the light of climate change, adds originality to the study.

Este trabalho visa analisar as capas de romances pulp fiction publicados no Brasil no período áureo - os anos (19)60 -, avaliando-se a presença de padrões visuais destinados a chamar a atenção do leitor. Análise estatística de elementos de destaque na capa revela predominância de mulheres brancas em capas que apresentam um modelo estereotipado de beleza feminina como fonte de crimes.

RESUMO: Este artigo pretende estabelecer, a partir da figura de Helena na tradição poética e filosófica (platônica) grega, como o discurso filosófico se constitui por uma recusa semelhante da beleza da ficção e da sedução das mulheres. Ficção e “feminino” apresentariam uma valorização da ambiguidade e da pluralidade de possíveis que coloca em risco a definição unívoca do conceito filosófico clássico de “verdade”. PALAVRAS-CHAVE: Ficção, Feminino, Filosofia.ABSTRACT: This paper aims to establish, based on the figure of Helen in the Greek poetic and philosophical (Platonic) tradition, how the philosophical discourse is constituted by a similar refusal of the beauty of fiction and the seduction of women. Fiction and “feminine” would present an appreciation of ambiguity and the plurality of possible ones that put at risk the univocal definition of the classic philosophical concept of “truth”.KEYWORDS: Fiction. Feminine. Philosophy.

-Lennox Honychurch, Robert L. Paquette ,The lesser Antilles in the age of European expansion. Gainesville: University Press of Florida, 1996. xii + 383 pp., Stanley L. Engerman (eds)-Kevin A. Yelvington, Gert Oostindie, Ethnicity in the Caribbean: Essays in honor of Harry Hoetink. London: Macmillan Caribbean, 1996. xvi + 239 pp.-Aisha Khan, David Dabydeen ,Across the dark waters: Ethnicity and Indian identity in the Caribbean. London: Macmillan Caribbean, 1996. xi + 222 pp., Brinsley Samaroo (eds)-Tracey Skelton, Ralph R. Premdas, Ethnic conflict and development: The case of Guyana. Brookfield VT: Ashgate, 1995. xi + 205 pp.-Rosemarijn Hoefte, Basdeo Mangru, A history of East Indian resistance on the Guyana sugar estates, 1869-1948. Lewiston NY: The Edwin Mellen Press, 1996. xiv + 370 pp.-Rosemarijn Hoefte, Clem Seecharan, 'Tiger in the stars': The anatomy of Indian achievement in British Guiana 1919-29. London: Macmillan, 1997. xxviii + 401 pp.-Brian Stoddart, Frank Birbalsingh, The rise of Westindian cricket: From colony to nation. St. John's, Antigua: Hansib Publishing (Caribbean), 1996. 274 pp.-Donald R. Hill, Peter van Koningsbruggen, Trinidad Carnival: A quest for national identity. London: Macmillan Caribbean, 1997. ix + 293 pp.-Peter van Koningsbruggen, John Cowley, Carnival, Canboulay and Calypso: Traditions in the making. Cambridge: Cambridge University Press, 1996. xv + 293 pp.-Olwyn M. Blouet, George Gmelch ,The Parish behind God's back : The changing culture of rural Barbados. Ann Arbor: University of Michigan Press, 1997. xii + 240 pp., Sharon Bohn Gmelch (eds)-George Gmelch, Mary Chamberlain, Narratives of exile and return. London: Macmillan, 1997. xii + 236 pp.-Michèle Baj Strobel, Christiane Bougerol, Une ethnographie des conflits aux Antilles: Jalousie, commérages, sorcellerie. Paris: Presses Universitaires de France, 1997. 161 pp.-Abdollah Dashti, Randy Martin, Socialist ensembles: Theater and state in Cuba and Nicaragua. Minneapolis: University of Minnesota Press, 1994. xii + 261 pp.-Winthrop R. Wright, Jay Kinsbruner, Not of pure blood: The free people of color and racial prejudice in nineteenth-century Puerto Rico. Durham NC: Duke University Press, 1996. xiv + 176 pp.-Gage Averill, Deborah Pacini Hernandez, Bachata: A social history of a Dominican popular music. Philadelphia PA: Temple University Press, 1995. xxiii + 267 pp.-Vera M. Kutzinski, Lorna Valerie Williams, The representation of slavery in Cuban fiction. Columbia: University of Missouri Press, 1994. viii + 220 pp.-Peter Mason, Elmer Kolfin, Van de slavenzweep en de muze: Twee eeuwen verbeelding van slavernij in Suriname. Leiden: Koninklijk Instituut voor Taal-, Land- en Volkenkunde, 1997. 184 pp.-J. Michael Dash, Jean-Pol Madou, Édouard Glissant: De mémoire d'arbes. Amsterdam: Rodopi, 1996. 114 pp.-Ransford W. Palmer, Jay R. Mandle, Persistent underdevelopment: Change and economic modernization in the West Indies. Amsterdam: Gordon and Breach, 1996. xii + 190 pp.-Ramón Grossfoguel, Juan E. Hernández Cruz, Corrientes migratorias en Puerto Rico/Migratory trends in Puerto Rico. Edición Bilingüe/Bilingual Edition. San Germán: Caribbean Institute and Study Center for Latin America, Universidad Interamericana de Puerto Rico, 1994. 195 pp.-Gert Oostindie, René V. Rosalia, Tambú: De legale en kerkelijke repressie van Afro-Curacaose volksuitingen. Zutphen: Walburg Pers, 1997. 338 pp.-John M. Lipski, Armin J. Schwegler, 'Chi ma nkongo': Lengua y rito ancestrales en El Palenque de San Basilio (Colombia). Frankfurt: Vervuert, 1996. 2 vols., xxiv + 823 pp.-Umberto Ansaldo, Geneviève Escure, Creole and dialect continua: Standard acquisition processes in Belize and China (PRC). Amsterdam: John Benjamins, 1997. ix + 307 pp.

Este artigo investiga manifestações de fictividade linguística em discurso direto e seus diferentes modos de operar discursiva e intersubjetivamente, tendo como base dados reais de fala espontânea do PB, em diatopia mineira. Apoia-se na Linguística Cognitiva, elegendo o conceito de perspectivação conceptual (construal) como guia para a hipótese de que, nas interações face-a-face, falante e interlocutor lançam mão do Frame de Conversa para estruturar a Interação Fictiva (PASCUAL, 2014), em especial o Discurso Direto Fictivo (ROCHA, 2022), como estratégia intersubjetiva argumentativa. A noção de (inter)subjetividade (VERHAGEN, 2005; TRAUGOTT; DASHER, 2005), inerente ao conceito de construal (VERHAGEN, 2005; TALMY, 2000; LANGACKER, 2008), é tomada como codificação explícita ou implícita da atenção por parte do falante ao interlocutor ou convite para que o interlocutor assuma uma determinada perspectiva discursiva, em busca de alinhamento (ALMEIDA, 2019) de pontos de vista. No tocante à metodologia, constituiu-se um banco de dados com base em gravações de fala espontânea em um salão de beleza, situado na cidade de Juiz de Fora (MG). Adotou-se uma abordagem metodológica baseada em corpus (corpus-based) e guiada por corpus (corpus-driven) (MCENERY; HARDIE, 2012; TOGNINI-BONELLI, 2001), possibilitando que o banco de dados norteasse os achados à luz de uma categoria já delimitada. A análise qualitativa evidenciou não apenas manifestações de Interação Fictiva em discurso direto, mas possibilitou identificar diferentes padrões sintáticos atrelados, no uso, a contornos melódicos específicos. Os resultados obtidos atestam a empiria do fenômeno e evidenciam o emprego do Discurso Direto Fictivo como frame atencional, ou janela de atenção, e a mudança de perspectiva como estratégia argumentativa intersubjetiva em prol do alinhamento de pontos de vista entre falante e interlocutor.

How does patriotism shape societies? What might it look like if patriotism were aligned with care rather than violence? In this article, I analyze Dutch-Swiss author Isabelle de Charrière’s novel Trois femmes (1797) through the lens of care ethics, particularly Sarah Clark Miller’s notion of a “duty to care.” Charrière’s novel examines the limits of Enlightenment theories of moralism (especially Kantian morality and duty) by putting theory into practice with a group of three women: a former French aristocrat, a wealthy mixed-race Creole woman, and an Alsatian servant. The three women live together as immigrants in Germany after fleeing France in the aftermath of the French Revolution, and they are bound together by a shared love of country. I propose that Charrière blends patriotism and care in radical ways that break down hierarchies of gender, race, and class and that belie the fiction of equality promised by the French Revolution.

Pretende-se investigar aqui como a criação literária pode se apropriar de elementos da linguagem televisiva, em especial das telenovelas, numa busca por redefinições nos modos de narrar na contemporaneidade, num contexto de intensa globalização e de alta tecnologia, em que uma literatura centrada no signo escrito e no suporte livro se expande e torna-se “móvel” (MALLO, 2012), numa inter-relação com outras linguagens e mídias, de modo a ressignificar elementos extraídos da dita cultura popular. REFERÊNCIAS AIRA, César. Continuação de ideias diversas. Tradução Joca Wolf. Rio de Janeiro: Papeis Selvagens, 2018a. ______. La mendiga. Barcelona: Mondadori, 1999. ______. Pequeno manual de procedimentos. Tradução Eduardo Marquardt e Marcos Maschio Chaga. Curitiba: Arte e Letra, 2007. ______. Sobre a arte contemporânea. Tradução Victor da Rosa. Rio de Janeiro: Zazie, 2018b. BAKHTIN, M. Gêneros do discurso. In: ______. Estética da criação verbal. Tradução Paulo Bezerra. São Paulo: Martins fontes, 2003. BAUDRILLARD, Jean. Simulacro e simulação. Tradução Maria João da Costa Pereira. Lisboa: Relógio d ́Água, 1991. BIZZIO, Sérgio. Realidad. Buenos Aires: Mondadori, 2009. BUSQUED, Carlos. Bajo este sol tremendo. Barcelona: Anagrama, 2009. ECO, Umberto. Seis passeios pelos bosques da ficção. São Paulo: Cia. das Letras, 2019. ______. Sobre literatura. Rio de Janeiro, Record, 2003. FREIRE FILHO, João. A “esfinge do século”: expectativas e temores de nossos homens de letras diante do surgimento e da expansão da TV (1950-1980). 1º Encontro Nacional da Rede Alfredo de Carvalho. Mídia Brasileira: 2 séculos de história. 2001. GT 14 História da Mídia Audiovisual. Disponível em: www.jornalismo.ufsc.br/redealcar/anais/gt14_audiovisual/a%20esfinge%do%20s%E9culo.doc. Acesso em: 24 jul. 2020. GALARD, Jean. Beleza exorbitante: reflexões sobre o abuso estético. Tradução Iraci D. Poleti. São Paulo: Fap-Unifesp, 2011. GUIMARÃES, Hélio de Seixas. A presença da literatura na televisão. Revista da USP, São Paulo, n. 32, p. 190-198, 1997. ______. Literatura em televisão: uma história das adaptações de textos literários para programas de TV. Campinas: 1995. Dissertação (Mestrado). Departamento de Teoria Literária do Instituo dos Estudos da Linguagem, Universidade Estadual de Campinas, Campinas, 1995. JAMESON, Fredric. Pós-modernidade e sociedade de consumo. Novos Estudos CEBRAP. n. 12, jun. 1985. MARTÍN-BARBERO, Jesús. Dos meios às mediações: comunicação, cultura e hegemonia. Tradução Ronal Polito e Sérgio Alcides. Rio de Janeiro: UFRJ, 2001. ______. REY, Germán. Os exercícios do ver: hegemonia audiovisual e ficção televisiva. Tradução Jacob Gorender. 2. ed. São Paulo: Senac, 2004. MALLO, Augustín Fernández. Blog Up: ensayos sobre cultura y sociedad. Valladolid: Universidad de Valladolid, 2012. ______. Nocilla experience. Tradução Joana Angélica d'Avila Melo. São Paulo: Cia. das Letras, 2013. MOTTER, Maria Lourdes. Mecanismos de renovação do gênero telenovela: empréstimos e doações. In: LOPES, M. I. V. (org.). Telenovela: internacionalização e interculturalidade. São Paulo, Loyola, 2004. ______. Telenovela: reflexo e refração na arte do cotidiano. Disponível em: www.intercom.org.br/papers/xxi-ci/gt21/GT2109.PDF, p. 1-66, 2002. Acesso em: 31 jan. 2021. MUNGIOLI, Maria Cristina Palma. Minissérie Grande Sertão: Veredas: gêneros e temas. construindo um sentido identitário de nação. 2006. 290f. Tese (Doutorado em Comunicação), Área de Concentração: Teoria e Pesquisa em Comunicação, Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo, 2006. PAULA, José Agrippino de. Lugar Público. Rio de Janeiro: Civilização Brasileira, 1965. ______. PanAmérica. Epopeia. Rio de Janeiro: Tridente, 1967. REIMÃO, Sandra. Livros e televisão: correlações. Cotia: Ateliê, 2004. VASCONCELLOS, E. M. M. Entre (ou além) (d)o real e a ficção: a televisão em Realidad, de Sergio Bizzio e Bajo este sol tremendo, de Carlos Busqued. São Paulo: 2016. 150 f. Dissertação (Mestrado) – Programa de Pós-Graduação na Área de Língua Espanhola e Literaturas Espanhola e Hispano-Americana, Faculdade de Filosofia, Letras e Ciências Humanas, Universidade de São Paulo, São Paulo, 2016. VASCONCELOS, Maurício Salles. Televisões (numa emergência). 25 set. 2012. Disponível em <http://www.musarara.com.br/televisoes-numa-emergencia>. Acesso em: 01 fev. 2020. ______. Compactos – lugares públicos/portáteis do cinema e da literatura. In: MOGRABI, Gabriel; REIS, Celia Domingues. (orgs.). Cinema, literatura e filosofia: interfaces semióticas. Cuiabá / Rio de Janeiro: FAPEMAT / 7 Letras, 2013, v. 1, p. 35-48. ______. Exterior. Noite – Filosofia/ Literatura. São Paulo: Lumme, 2015. WALLACE, David Faster. E Unibus Pluram: television and US fiction. In: ______. A supposedly fun thing i'll never do again: essays and arguments. Nova York: Best Bay Books, 1998. XAVIER, Valêncio. Rremembranças da menina de rua morta nua e outros livros. São Paulo: Companhia das Letras, 2006.

I 1993 udgav Klaus Holzkamp en omfattende bog om læring med titlen: Lernen: Subjekt- wissenschaftliche Grundlegung. Forud for udgivelsen holdt han et oplæg ved Det 6. in- ternationale kritisk psykologiske ferieuniver- sitet i Wien i 1992. Temaet for seminaret var: Læringsmodsætninger og pædagogisk hand- ling. Denne artikel er baseret på Holzkamps oplæg: Die Fiktion administrativer Planbarkeit schulischer Lernprozesse og på den engelske oversættelse: The Fiction of Learning as Ad- ministratively Plannable. I artiklen tager Holzkamp, med referencer til Foucault, udgangspunkt i en historisk ana- lyse af skolesystemet. Herigennem viser han hvordan skolen, trods idealer om tildeling af lige muligheder for alle, tildeler eleverne ulige livschancer. Da undervisning ofte sidestilles med læring taler Holzkamp om en “under- visnings/læringskortslutning”, som også ka- rakteriserer størstedelen af de psykologiske læringsteorier. Det betyder, at de subjektive læringsinteresser generelt eksluderes både fra uddannelsessystemet side og i de videnska- belige analyser. Holzkamp viser, hvordan un- dervisnings/læringskortslutningen og ensret- ningen af undervisningen/evalueringen ofte betyder, at eleverne ses som uvillige eller ude af stand til at lære. I modsætning til de udbredte forståelser af læring som resultat af docerende og færdigpakket undervisning, sigter Holz- kamp mod at udvikle en kritisk psykologisk forståelse af læring fra det lærende subjekts ståsted, standpunkt og perspektiv.

O trabalho propõe fazer uma viagem de regressão histórica para compreender as apropriações da canção Misirlou, até sua possível conotação de opressão sexista romantizada. O filme Pulp Fiction popularizou uma sonoridade através da canção ao estilo surf music chamada Misirlou, lançada em 1962 por Dick Dale & His Del-Tones e posteriormente sampleada pelo grupo Black Eye Peas para a música Pump It em 2006. Por modernismo orientalista, George Abdo e sua orquestra “chamas da Arábia” atualizou em 1976, no disco The Art of Belly Dacing, a versão “Miserlou” de Anton Abdelahad de 1946, cantada com letra. Antes destes, o refugiado Theodotos “Tetos” Demetriades levou e gravou em 1927, em solo estadunidense, a canção folclórica turco-grega Misirlou. Antes de se tornar rebético grego, foi supostamente gravada em 1919 pelo egípcio Sayed Darwish, com o nome “Bint Misr”, que é a expressão árabe do turco “misirlou”, significando “moça egípcia”. Não apenas no seu título como nas versões diversas da letra cantada, grego, turco e árabe se amalgamam como efeito derradeiro do crepúsculo do Império Otomano (1299-1922). A tensão da letra, nas múltiplas versões, romantiza os desejos amorosos e carnais de um homem grego a uma moça egípcia, entre elogios e galanteios, projetando seu sequestro, de consentimento não declarado. O destaque sobre a singularidade da beleza da cativa sugere a sua condição social de escrava sexual, pertencentes a haréns, atividade econômica centralmente significativa do século XVIII ao XX no cerne do Império Otomano. A proposta analítica aborda o esvaziamento e romantização do significado originário da memória musicada sobre erotização e jogo afetivo no trânsito da música até a atualidade, ofertando seu uso para o ensino de História sob o prisma dos estudos de gênero.

Introduction In the elite space of Haute Couture, fashion is presented through a theatrical array of dynamics—the engagement of specific bodies performing for select audiences in highly curated spaces. Each element is both very precise in its objectives and carefully selected for impact. In this way, the production of Haute Couture makes itself accessible to only a few select members of society. Globally, there are only an estimated 4,000 direct consumers of Haute Couture (Hendrik). Given this limited market, the work of elite couturiers relies on other forms of artistic media, namely film, photography, and increasingly, museum spaces, to reach broader audiences who are then enabled to participate in the fashion ‘space’ via a process of visual consumption. For these audiences, Haute Couture is less about material consumption than it is about the aspirational consumption and contestation of notions of identity. This article uses qualitative textual analysis and draws on semiotic theory to explore symbolism and values in Haute Couture. Semiotics, an approach popularised by the work of Roland Barthes, examines signifiers as elements of the construction of metalanguage and myth. Barthes recognised a broad understanding of language that extended beyond oral and written forms. He acknowledged that a photograph or artefact may also constitute “a kind of speech” (111). Similarly, fashion can be seen as both an important signifier and mode of communication. The model of fashion as communication is one extensively explored within culture studies (e.g. Hall; Lurie). Much of the discussion of semiotics in this literature is predicated on sender/receiver models. These models conceive of fashion as the mechanism through which individual senders communicate to another individual or to collective (and largely passive) audiences (Barnard). Yet, fashion is not a unidirectional form of communication. It can be seen as a dialogical and discursive space of encounter and contestation. To understand the role of Haute Couture as a contested space of identity and socio-political discourse, this article examines the work of Chinese couturier Guo Pei. An artisan such as Guo Pei places the results of needle and thread into spaces of the theatrical, the spectacular, and, significantly, the powerfully socio-political. Guo Pei’s contributions to Haute Couture are extravagant, fantastical productions that also serve as spaces of socio-cultural information exchange and debate. Guo Pei’s creations bring together political history, memory, and fantasy. Here we explore the socio-cultural and political semiotics that emerge when the humble stitch is dramatically amplified onto the Haute Couture runway. We argue that Guo Pei’s work speaks not only to a cultural imaginary but also to the contested nature of gender and socio-political authority in contemporary China. The Politicisation of Fashion in China The majority of literature regarding Chinese fashion in the twentieth and twenty-first centuries has focussed on the use of fashion to communicate socio-political messages (Finnane). This is most clearly seen in analyses of the connections between dress and egalitarian ideals during Mao Zedong’s Cultural Revolution. As Zhang (952-952) notes, revolutionary fashion emphasised simplicity, frugality, and homogenisation. It rejected style choices that reflected both traditional Chinese and Western fashions. In Mao’s China, fashion was utilised by the state and adopted by the populace as a means of reinforcing the regime’s ideological orientations. For example, the ubiquitous Mao suit, worn by both men and women during the Cultural Revolution “was intended not merely as a unisex garment but a means to deemphasise gender altogether” (Feng 79). The Maoist regime’s intention to create a type of social equality through sartorial homogenisation was clear. Reflecting on the ways in which fashion both responded to and shaped women’s positionality, Mao stated, “women are regarded as criminals to begin with, and tall buns and long skirts are the instruments of torture applied to them by men. There is also their facial makeup, which is the brand of the criminal, the jewellery on their hands, which constitutes shackles and their pierced ears and bound feet which represent corporal punishment” (Mao cited in Finnane 23). Mao’s suit—the homogenising militaristic uniform adopted by many citizens—may have been intended as a mechanism for promoting equality, freeing women from the bonds of gendered oppression and all citizens from visual markers of class. Nonetheless, in practice Maoist fashion and policing of appearance during the Cultural Revolution enforced a politics of amnesia and perversely may have “entailed feminizing the undesirable, by conflating woman, bourgeoisie, and colour while also insisting on a type of gender equality that the belted Mao jacket belied” (Chen 161). In work on cultural transformations in the post-Maoist period, Braester argues that since the late 1980s Chinese cultural products—here taken to include artefacts such as Haute Couture—have similarly been defined by the politics of memory and identity. Evocation of historically important symbols and motifs may serve to impose a form of narrative continuity, connecting the present to the past. Yet, as Braester notes, such strategies may belie stability: “to contemplate memory and forgetting is tantamount to acknowledging the temporal and spatial instability of the post-industrial, globalizing world” (435). In this way, cultural products are not only sites of cultural continuity, but also of contestation. Imperial Dreams of Feminine Power The work of Chinese couturier Guo Pei showcases traditional Chinese embroidery techniques alongside more typically Western fashion design practices as a means of demonstrating not only Haute Couturier craftsmanship but also celebrating Chinese imperial culture through nostalgic fantasies in her contemporary designs. Born in Beijing, in 1967, at the beginning of the Chinese Cultural Revolution, Guo Pei studied fashion at the Beijing Second Light Industry School before working in private and state-owned fashion houses. She eventually moved to establish her own fashion design studio and was recognised as “the designer of choice for high society and the political elite” in China (Yoong 19). Her work was catapulted into Western consciousness when her cape, titled ‘Yellow Empress’ was donned by Rihanna for the 2015 Met Gala. The design was a response to an era in which the colour yellow was forbidden to all but the emperor. In the same year, Guo Pei was named an invited member of La Federation de la Haute Couture, becoming the first and only Chinese-born and trained couturier to receive the honour. Recognition of her work at political and socio-economic levels earned her an award for ‘Outstanding Contribution to Economy and Cultural Diplomacy’ by the Asian Couture Federation in 2019. While Maoist fashion influences pursued a vision of gender equality through the ‘unsexing’ of fashion, Guo Pei’s work presents a very different reading of female adornment. One example is her exquisite Snow Queen dress, which draws on imperial motifs in its design. An ensemble of silk, gold embroidery, and Swarovski crystals weighing 50 kilograms, the Snow Queen “characterises Guo Pei’s ideal woman who is noble, resilient and can bear the weight of responsibility” (Yoong 140). In its initial appearance on the Haute Couture runway, the dress was worn by 78-year-old American model, Carmen Dell’Orefice, signalling the equation of age with strength and beauty. Rather than being a site of torture or corporal punishment, as suggested by Mao, the Snow Queen dress positions imagined traditional imperial fashion as a space for celebration and empowerment of the feminine form. The choice of model reinforces this message, while simultaneously contesting global narratives that conflate women’s beauty and physical ability with youthfulness. In this way, fashion can be understood as an intersectional space. On the one hand, Guo Pei's work reinvigorates a particular nostalgic vision of Chinese imperial culture and in doing so pushes back against the socio-political ‘non-fashion’ and uniformity of Maoist dress codes. Yet, on the other hand, positioning her work in the very elite space of Haute Couture serves to reinstate social stratification and class boundaries through the creation of economically inaccessible artefacts: a process that in turn involves the reification and museumification of fashion as material culture. Ideals of femininity, identity, individuality, and the expressions of either creating or dismantling power, are anchored within cultural, social, and temporal landscapes. Benedict Anderson argues that the museumising imagination is “profoundly political” (123). Like sacred texts and maps, fashion as material ephemera evokes and reinforces a sense of continuity and connection to history. Yet, the belonging engendered through engagement with material and imagined pasts is imprecise in its orientation. As much as it is about maintaining threads to an historical past, it is simultaneously an appeal to present possibilities. In his broader analysis, Anderson explores the notion of parallelity, the potentiality not to recreate some geographically or temporally removed place, but to open a space of “living lives parallel …] along the same trajectory” (131). Guo Pei’s creations appeal to a similar museumising imagination. At once, her work evokes both a particular imagined past of imperial grandeur, against instability of the politically shifting present, and appeals to new possibilities of gendered emancipation within that imagined space. Contesting and Complicating East-West Dualism The design process frequently involves borrowing, reinterpretation, and renewal of ideas. The erasure of certain cultural and political aspects of social continuity through the Chinese Cultural Revolution, and the socio-political changes thereafter, have created fertile ground for an artist like Guo Pei. Her palimpsest reaches back through time, picks up those cultural threads of extravagance, and projects them wholesale into the spaces of fashion in the present moment. Cognisance of design intentionality and historical and contemporary fashion discourses influence the various interpretations of fashion semiotics. However, there are also audience-created meanings within the various modes of performance and consumption. Where Kaiser and Green assert that “the process of fashion is inevitably linked to making and sustaining as well as resisting and dismantling power” (1), we can also observe that sartorial semiotics can have different meanings at different times. In the documentary, Yellow Is Forbidden, Guo Pei reflects on shifting semiotics in fashion. Speaking with a client, she remarks that “dragons and phoenixes used to represent the Chinese emperor—now they represent the spirit of the Chinese” (Brettkelly). Once a symbol of sacred, individual power, these iconic signifiers now communicate collective national identity. Both playing with and reimagining not only the grandeur of China’s imperial past, but also the particular role of the feminine form and female power therein, Guo Pei’s corpus evokes and complicates such contestations of power. On the one hand, her work serves to contest homogenising narratives of identity and femininity within China. Equally important, however, are the ways in which this work, which is possible both through and in spite of a Euro-American centric system of patronage within the fashion industry, complicates notions of East-West dualism. For Guo Pei, drawing on broadly accessible visual signifiers of Chinese heritage and culture has been critical in bringing attention to her endeavours. Her work draws significantly from her cultural heritage in terms of colour selections and traditional Chinese embroidery techniques. Symbols and motifs peculiar to Chinese culture are abundant: lotus flowers, dragons, phoenixes, auspicious numbers, and favourable Chinese language characters such as buttons in the shape of ‘double happiness’ (囍) are often present in her designs. Likewise, her techniques pay homage to traditional craft work, including Peranakan beading. The parallelity conjured by these choices is deliberate. In staging Guo Pei’s work for museum exhibitions at museums such as the Asian Civilizations Museum, her designs are often showcased beside the historical artefacts that inspired them (Fu). On her Chinese website, Guo Pei, highlights the historical connections between her designs and traditional Chinese embroidery craft through a sub-section of the “Spirit” header, entitled simply, “Inheritance”. These influences and expressions of Chinese culture are, in Guo Pei's own words her “design language” (Brettkelly). However, Guo Pei has also expressed an ambivalence about her positioning as a Chinese designer. She has maintained that she does not want “to be labelled as a Chinese storyteller ... and thinks about a global audience” (Yoong). In her expression of this desire to both derive power through design choices and historically situated practices and symbols, and simultaneously move beyond nationally bounded identity frameworks, Guo Pei positions herself in a space ‘betwixt and between.’ This is not only a space of encounter between East and West, but also a space that calls into question the limits and possibilities of semiotic expression. Authenticity and Legitimacy Global audiences of fashion rely on social devices of diffusion other than the runway: photography, film, museums, and galleries. Unique to Haute Couture, however, is the way in which such processes are often abstracted, decontextualised and pushed to the extremities of theatrical opulence. De Perthuis argues that to remove context “greatly reduce[s] the social, political, psychological and semiotic meanings” of fashion (151). When iconic motifs are utilised, the western gaze risks falling back on essentialising reification of identity. To this extent, for non-Chinese audiences Guo Pei’s works may serve not so much to problemitise historical and contemporary feminine identities and inheritances, so much as project an essentialisation of Chinese femininity. The double-bind created through Guo Pei’s simultaneous appeal to and resistance of archetypical notions of Chinese identity and femininity complicates the semiotic currency of her work. Moreover, Guo Pei’s work highlights tensions concerning understandings of Chinese culture between those in China and the diaspora. In her process of accessing reference material, Guo Pei has necessarily been driven to travel internationally, due to her concerns about a lack of access to material artefacts within China. She has sought out remnants of her ancestral culture in both the Chinese diaspora as well as material culture designed for export (Yoong; Brettkelly). This borrowing of Chinese design as depicted outside of China proper, alongside the use of western influences and patronage in Guo’s work has resulted in her work being dismissed by critics as “superficial … export ware, reimported” (Thurman). The insinuation that her work is derivative is tinged with denigration. Such critiques question not only the authenticity of the motifs and techniques utilised in Guo Pei’s designs, but also the legitimacy of the narratives of both feminine and Chinese identity communicated therein. Questions of cultural ‘authenticity’ serve to deny how culture, both tangible and intangible, is mutable over time and space. In his work on tourism, Taylor suggests that wherever “the production of authenticity is dependent on some act of (re)production, it is conventionally the past which is seen to hold the model of the original” (9). In this way, legitimacy of semiotic communication in works that evoke a temporally distant past is often seen to be adjudicated through notions of fidelity to the past. This authenticity of the ‘traditional’ associates ‘tradition’ with ‘truth’ and ‘authenticity.’ It is itself a form of mythmaking. As Guo Pei’s work is at once quintessentially Chinese and, through its audiences and capitalist modes of circulation, fundamentally Western, it challenges notions of authenticity and legitimacy both within the fashion world and in broader social discourses. Speaking about similar processes in literary fiction, Colavincenzo notes that works that attempt to “take on the myth of historical discourse and practice … expose the ways in which this discourse is constructed and how it fails to meet the various claims it makes for itself” (143). Rather than reinforcing imagined ‘truths’, appeals to an historical imagination such as that deployed by Guo Pei reveal its contingency. Conclusion In Fashion in Altermodern China, Feng suggests that we can “understand the sartorial as situating a set of visible codes and structures of meaning” (1). More than a reductionistic process of sender/receiver communication, fashion is profoundly embedded with intersectional dialogues. It is not the precision of signifiers, but their instability, fluidity, and mutability that is revealing. Guo Pei’s work offers narratives at the junction of Chinese and foreign, original and derivative, mythical and historical that have an unsettled nature. This ineffable tension between construction and deconstruction draws in both fashion creators and audiences. Whether encountering fashion on the runway, in museum cabinets, or on magazine pages, all renditions rely on its audience to engage with processes of imagination, fantasy, and memory as the first step of comprehending the semiotic languages of cloth. References Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Rev. ed. London: Verso, 2016. Barnard, Malcolm. "Fashion as Communication Revisited." Fashion Theory. Routledge, 2020. 247-258. Barthes, Roland. Mythologies. London: J. Cape, 1972. Braester, Yomi. "The Post-Maoist Politics of Memory." A Companion to Modern Chinese Literature. Ed. Yingjin Zhang. London: John Wiley and Sons. 434-51. Brettkelly, Pietra (dir.). Yellow Is Forbidden. Madman Entertainment, 2019. Chen, Tina Mai. "Dressing for the Party: Clothing, Citizenship, and Gender-Formation in Mao's China." Fashion Theory 5.2 (2001): 143-71. Colavincenzo, Marc. "Trading Fact for Magic—Mythologizing History in Postmodern Historical Fiction." Trading Magic for Fact, Fact for Magic. Ed. Marc Colavincenzo. Brill, 2003. 85-106. De Perthuis, Karen. "The Utopian 'No Place' of the Fashion Photograph." Fashion, Performance and Performativity: The Complex Spaces of Fashion. Eds. Andrea Kollnitz and Marco Pecorari. London: Bloomsbury, 2022. 145-60. Feng, Jie. Fashion in Altermodern China. Dress Cultures. Eds. Reina Lewis and Elizabeth Wilson. London: Bloomsbury Publishing, 2022. Finnane, Antonia. Changing Clothes in China: Fashion, History, Nation. New York: Columbia UP, 2008. Fu, Courtney R. "Guo Pei: Chinese Art and Couture." Fashion Theory 25.1 (2021): 127-140. Hall, Stuart. "Encoding – Decoding." Crime and Media. Ed. Chris Greer. London: Routledge, 2019. Hendrik, Joris. "The History of Haute Couture in Numbers." Vogue (France), 2021. Kaiser, Susan B., and Denise N. Green. Fashion and Cultural Studies. London: Bloomsbury, 2021. Lurie, Alison. The Language of Clothes. London: Bloomsbury, 1992. Taylor, John P. "Authenticity and Sincerity in Tourism." Annals of Tourism Research 28.1 (2001): 7-26. Thurman, Judith. "The Empire's New Clothes – China’s Rich Have Their First Homegrown Haute Couturier." The New Yorker, 2016. Yoong, Jackie. "Guo Pei: Chinese Art and Couture." Singapore: Asian Civilisations Museum, 2019. Zhang, Weiwei. "Politicizing Fashion: Inconspicuous Consumption and Anti-Intellectualism during the Cultural Revolution in China." Journal of Consumer Culture 21.4 (2021): 950-966.

Works of fiction do things to us, and we do things because of works of fiction. When reading Hamlet, I mentally represent certain propositions about its characters and events, I want the story and its characters to go a certain way, and I emotionally respond to its goings-on. I might deem Hamlet a coward, I might wish that Hamlet stabbed Claudius when he had the chance, and I might feel sorrow at Ophelia’s senseless suicide. These fiction-directed mental states seem to resemble the propositional attitudes of belief, desire, and emotion, respectively — the everyday attitudes that represent and orient us toward the world. These mental states constitute our engagement with fiction, and the way in which they hang together is central to understanding our engagement with fiction. In that aim, this thesis hopes to provide an analysis of our belief-like attitudes about works of fiction. I argue that a folk psychological theory of fictional engagement should call upon belief, not imagination, to serve as the primary cognitive attitude with which we engage fictions.

The question of what exactly constitutes a work of fiction has been contested for decades, with no clear conclusion. While there are several factions of philosophers, each with their preferred definitions, none are widely accepted definitions. Most, when used, often include some works of nonfiction as works of fiction, or exclude some works that are clearly works of fiction. In this thesis, I will use an interdisciplinary methodology to provide a new definition of fiction that avoids these pitfalls. In Chapters 1 and 2, I show that it is implausible to take propositional imagination as a necessary component of a definition of fiction without any further clarification of the role of make-believe imagination in fiction and that a plausible definition of fiction should not include the role of the audience. In Chapter 3, I evaluate Stacie Friend’s genre approach, as probably the most popu-lar non-make-believe approach. In Chapter 4, I cover Harry Deutsch’s often-ignored approach, discuss its problems, and outline its contributions. In Chapter 5, I reject Matravers’s scepticism by showing that there is a meaningful difference between fiction and nonfiction using the findings from social science experiments. In Chapter 6, I construct my own definition of fiction by interpreting the findings from in Chapter 5 along with the concepts of interior properties, phenomenal con-cept, and end value. I then address the issue of assertions in fiction, why it is such a problem for many existing definitions, and how it can be overcome by my defini-tion. In Chapter 7, I discuss miscellaneous issues that arise in defining fiction, address them using my definition, and how my account complements an iconic theory in a related debate. In Chapter 8, I conclude the work with an overview of what I have argued, my defi-nition of fiction, and how I have contributed to several philosophical debates.

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Includes bibliographical references (leaves [212]-226).
This thesis examines the ways in which certain contemporary fiction cinema posits its narratives as real. Looking at a broad overview of realist movements through the history of cinema, it draws out the codes and conventions which filmmakers have employed and suggests that realist cinema is typically characterised by its focus on creating a sense of presence and immediacy. It describes how a strand of selfreflexivity can be traced throughout the history of realist cinema and asserts that this tendency has become increasingly predominant in a more sceptical postmodern climate. The study focuses on the interplay between the cinematography and the setting (to create a sense of locatedness and contextual specificity) in Matthieu Kassovitz's La Haine (1995), on Lars Von Trier's quest for a "naked" film stripped of its cosmetic trappings, and his pursuit of the "genuine" moment within that (in The Idiots, 1998), on Mike Leigh's use of improvisation and byplay to encourage a sense of authenticity in performance in Secrets and Lies (1996), and on Richard Linklater's reworking of the romance genre for a postmodern audience in Before Sunrise (1995) and Before Sunset (2004).

This thesis investigated intentionally fabricated autobiographical memories (IFAMs), memories deliberately created to be false. The first aim of the thesis was to understand the processes underlying IFAM generation. Secondly, the thesis examined beliefs held by the public about autobiographical memory (AM) and about lying, in an attempt to clarify current levels of knowledge. The third aim was to understand how AMs and IFAMs of staged events were reported, and to identify characteristics that could distinguish AMs from IFAMs. In particular, the work aimed to understand if entirely fabricated everyday memories differed from partially fabricated everyday and emotional memories. Finally, this thesis examined the effect that repeatedly providing an IFAM of an experienced event had on the ability to subsequently recall the original AM. AMs and IFAMs were elicited using cue word and staged event techniques. Participants were either asked to type their memories into a computer or were interviewed using structured questioning. Data regarding beliefs about memory and lying were gathered using questionnaires. Results revealed that IFAMs are frequently generated by firstly recalling a truthful AM which is then ‘edited’ to create a novel mental representation. The generation of an IFAM was therefore found to be reliably more cognitively effortful than the generation of an AM. Results also identified a number of erroneous and inconsistent beliefs about the nature of memory and of lying. Additionally, results showed that a number of characteristics could reliably identify AMs and entire IFAMs of everyday events. However, the number of characteristics was reliably reduced when AMs and partial IFAMs of everyday events were compared. Most strikingly, no characteristics were found that could reliably distinguish AMs from IFAMs of emotional events. Finally, results revealed that repeatedly providing an IFAM of a staged event reliably impaired the individual’s ability to then recall the original AM.

Real Witness is a collection of poems exploring responses to loss--loss of youth, of health, of an envisioned future--particularly when loss challenges faith or foundational beliefs, or when responses seem at odds with one's beliefs. Poems push against pat or prescribed responses and look for more honest alternatives.

The aim of this essay is to examine what happens when Veronica Roths Divergent-trilogy is read with a lutheran theological pre-understanding. Using reader-response theory and lutheran theology written for and in a post-modern context, three lutheran figures of thought are presented as one way of understanding the trilogy. The conclusion is that it is possible to reveal lutheran ideas concerning justification, guilt, forgiveness, mercy and self-sacrificing love in the Divergent-story.
Denna uppsats undersöker Veronica Roths Divergent-trilogi ur ett luthersk-teologiskt perspektiv. Metoden som används är en text- och läsarcentrerad metod. Med hjälp av post-modern luthertolkning till största delen hämtad från projektet Luthersk teologi och etik - i ett efterkristet samhälle så byggs tre tankefigurer upp; människan och det onda, människan och det goda samt människan och vägen till frihet. Dessa tankefigurer läggs som ett raster över trilogin. Resultatet av denna process visar att det i berättelsen är möjligt att synliggöra lutherska tankefigurer rörande rättfärdiggörelse, skuld, en självutgivande kärlek, förlåtelse och nåd.

In linguistics, there is a widespread belief that the article cannot be in the stressed position, because if it is in this position, we perceive it as a (short) form of the indicative pronoun. However, the materials of the Dutch language refute this statement, telling us that at least in some languages the article can take on the accent. In Dutch, this accent is often marked graphically, which makes it easier to find examples and prove their relevance. This article examines the contexts in which the accented article is used in Dutch, among which the contrastive and the emphatic contexts stand out. The study is based on a sample of corpus examples from a corpus of ≈1.5 million tokens of fiction. While examining the examples, an assumption is made about the categorical polysemy of articles.

This paper articulates the reasons and the implementation steps for the forming of a student-community book club that aims to build small communities motivated by Raghuram Rajan’s 2019 book: The Third Pillar: How Markets and the States Leave the Community Behind. We believe humans and societies survive based on rational dialogues. A book club of this type can provide escape valves for individuals holding strong unbendable beliefs on how society should function, which has dichotomized America since 2016. Themes generated from books (fictions or non-fictions) contain scientific or humanistic views can encourage community network building of the type that will broaden people's view, rather than focus on specific disagreements. Disintegration of various factors, according to Rajan, is the crisis that communities all over the world are facing. Building communities have always been some historical endeavors, resulting often from wars and land grabbings. The urgent needs to do so now are due to technological changes. Technologies are disrupting the lifestyles in the world that can amplify as well as compromise disagreements. A web-ground co-development is necessarily for bringing out the goods while managing the bad of technologies.

The starting point of the present paper is the hypothesis that the distribution of discursive words characterizes the trends in the development of the writing style of the 19th century. The paper presents and discusses the results of an experiment based on the data of the Russian National Corpus on the frequency of using discursive words with the semantics of epistemic modality, such as konechno, razumeetsya (both roughly meaning ‘of course’), po-vidimomu ‘apparently’, kak kazhetsya, kazalos’ by (both ≈ ‘it would seem’), naverno ≈ ‘as it were’, veroyatno ‘probably’, pozhaluy ≈ ‘maybe’, deystvitel’no ‘really’, etc. We show that the frequency of this group of expressions increases in the second half of the 19th century. A similar trend is also observed for some syntactic constructions with the same semantics: (ya) dumayu, chto… ‘(I) think that...’; (ya) schitayu, chto… ‘(I) believe that...’; (mne) kazhetsya, chto… ‘it seems to me that’. The revealed regularity is considered as a discursive practice in changing the style of fiction, which consisted in expanding the modus part of the utterance as compared to the earlier period. The discursive practice of expanding the modus was inherent only to a group of innovative writers (first of all, F. M. Dostoevsky, M. E. SaltykovShchedrin, L. N. Tolstoy, I. A. Goncharov, A. F. Pisemsky, P. I. MelnikovPechersky, N. S. Leskov, and I. S. Turgenev), who, however, due to their talent, social significance, and the number of published texts, had a significant impact on the language of fiction. The task of studying the dynamics of artistic style is to identify and describe a set of discursive practices that establish written discourse as such.

For the Italian play-writer and 1934 Nobel-Prize winner Luigi Pirandello, a fictional mask is either self-imposed or, in most cases, forced on by society, being what makes life possible. Drawing from that, we believe that due to the non-deterministic nature of the human being, the only way to specify and verify human-tailored security protocols (known as security ceremonies) is by the specification of masks that users wear in order to interact with ceremonies. In the current paper, we review further this literary inspiration and propose six possible masks: the Attentive, the Naive, the Careless, the Fearful, the Busy, and the Elder. We then discuss an example of how we can reason about security involving human beings, and present what still needs to be done.