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Journal articles on the topic 'Charms – fiction'
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1
DRINKWATER, J. A. "LA SERRANA DE LA VERA AND THE “MYSTIFYING CHARMS OF FICTION”." Forum for Modern Language Studies XXVIII, no. 1 (1992): 75–85. http://dx.doi.org/10.1093/fmls/xxviii.1.75.
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Kimbrough, R. Keller. "Casting Spells: Combat Charms and Secret Scrolls in the Warrior Fiction of Late Medieval Japan." Monumenta Nipponica 74, no. 2 (2019): 211–48. http://dx.doi.org/10.1353/mni.2019.0024.
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Mills, Adelais. "Authorial Enchantments in the Fictions of Henry James, Philip Roth, and Joshua Cohen." CounterText 4, no. 3 (December 2018): 382–405. http://dx.doi.org/10.3366/count.2018.0140.
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Print literature has always existed in an ecosystem of media forms, among which the attention of audiences have been shared. Periodically, however, novelists have expressed concerns for the charms of literature in relation to its competitors. This article explores three interrelated experiments that harness the effects of authorial presence to revive the capacity of literary fiction to detain readers. Henry James's ‘The Death of the Lion’ (1894), Philip Roth's The Ghost Writer (1979) and Joshua Cohen's Book of Numbers (2015) speak to each other by mobilising the trope of the author in ways that probe the fault lines in under-nuanced accounts of the author's coercive role in delimiting the meaning of a literary work. These texts, I offer, reimagine the author not as a disciplining force but as a compelling figure, working in distinctive ways to summon readerly attention.
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Clarke, Jim. "Buddhist Reception in Pulp Science Fiction." Literature and Theology 35, no. 3 (August 1, 2021): 355–73. http://dx.doi.org/10.1093/litthe/frab020.
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Abstract Science fiction has a lengthy history of irreligion. In part, this relates to its titular association with science itself, which, as both methodology and ontological basis, veers away from revelatory forms of knowledge in order to formulate hypotheses of reality based upon experimental praxis. However, during science fiction’s long antipathy to faith, Buddhism has occupied a unique and sustained position within the genre. This article charts the origins of that interaction, in the pulp science fiction magazines of the late 1920s and early 1930s, in which depictions of Buddhism quickly evolve from ‘Yellow Peril’ paranoia towards something much more intriguing and accommodating, and in so doing, provide a genre foundation for the environmental concerns of much 21st-century science fiction.
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Sarakaeva, Elina A. "The Beauty, the Beast and the Red Hare. The 'Chain Scheme' in Chinese Literature and Cinematography. Part 1." Corpus Mundi 3, no. 2 (December 22, 2022): 52–80. http://dx.doi.org/10.46539/cmj.v3i2.71.
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The Chinese historical chronicle “The Annals of the Three kingdoms” relates the last years of Han dynasty before the country fell into chaos. According to the Chronicle, a frontier general Dong Zhuo marched with his troops to the capital and took control over the boy emperor. He wanted to get rid of his rival general Ding Yuan, so he bribed his officers with gifts and promises. A young junior officer Lü Bu killed general Ding and presented his head to Dong Zhuo. The daring and unscrupulous officer enjoyed the favours of the usurper, he became his adopted son and was placed at the head of cavalry. To his misfortune, Dong Zhuo’s uncontrolled temper threatened the very life of his closest henchmen. Besides, Lü Bu’s regiments didn’t enjoy benefits they expected and that annoyed the soldiers and their new commander. Finally, Lü Bu started a secret affair with a court lady and was afraid to be exposed. So, when minister Wang Yun asked him to kill the tyrant, Lü Bu agreed. Following Wan Yun’s plan, he killed Dong Zhuo with his own hands. This story was masterfully re-worked in Luo Guangzhong’s great epic “The Three Kingdoms”. The writer dramatized the plot and turned the nameless court lady into a renowned beauty Diao Chan who plays the key role in the conspiracy. According to the novel, Diao Chan seduced Lü Bu and later married Dong Zhuo to set the tyrant and his powerful bodyguard against each other. This scheme was called “The Chain Scheme”, for the idea was to break the chain between the male characters with the help of female charms. The Chain Scheme is the most stylistically strong and textually rich episode; in the course of Chinese history it served as a plot to masterful works of fiction and in 20th-21st centuries got numerous TV adaptations. In the present paper I analyse artistic devices and narrative tropes in literature versions of Chain Scheme plot, paying attention to the visual images of the characters, especially their bodily representations as well as the psychological interpretations of their actions. In the Part II of the work I hope to do the same for the screen versions of the Chain Scheme story.
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Welge, Jobst. "Patricia López-Gay. Ficciones de verdad. Archivo e narrativas de vida." European Journal of Life Writing 9 (December 28, 2020): R41—R45. http://dx.doi.org/10.21827/ejlw.9.37342.
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Some of the most interesting narrative literature recently produced in Spain is distinguished by the incorporation of auto- or bio-fictional elements (for instance, Miguel Ángel Hernández, El dolor de los demás [2018]; Pablo Martín Sánchez, Diario de un viejo cabezota [2020]). Not surprisingly, this ‘trend’ has already led to many academic studies on different aspects of autobiographical fiction. The new book by Patricia López-Gay is an extremely valuable contribution to this field, since it charts in a convincing and sophisticated manner the specifically Spanish genealogy and phenomenology of this literary tendency, covers the work of representative writers in a synthetic fashion, and develops an original argument about the intersection of auto-fictional prose and the narrative configuration of the archive.
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Schmitt, Arnaud. "Sam Ferguson's Diaries Real and Fictional in Twentieth-century French Writing." European Journal of Life Writing 9 (June 12, 2020): R6—R11. http://dx.doi.org/10.21827/ejlw.9.36160.
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Over the last two decades, Philippe Lejeune’s research has established diary-writing as maybe the only form of life-writing immune from panfictionalism. In an oft-quoted article (Lejeune 2007), the French theorist famously expressed his fiction and autofiction fatigue (‘[…] j’ai créé “antifiction” par agacement devant “autofiction”, le mot et la chose’, 3) and set up an insurmountable ontological barrier between autobiographies and diaries: ‘autobiography has fallen under the spell of fiction, diaries are enamored with truth’ (‘[…] l’autobiographie vit sous le charme de la fiction, le journal a le béguin pour la verité’, 3).1 In his more recent book, Aux Origines du Journal Personnel: France, 1750–1815 (2016), Lejeune not only reasserted this privileged connection between diaries and truth/reality—not unlike Barthes’s claim in La Chambre claire that photography cannot be distinguished from its referent— but went as far as removing diaries from the field of literary studies as, according to him, they do not constitute a literary genre (or only as an epiphenomenon). In Diaries Real and Fictional in Twentieth-Century French Writing, Sam Ferguson opts for an altogether different approach.
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Mouw, Alex. "‘Free to act by your own lights’: Agency and Predestination in Marilynne Robinson’s Gilead Novels." Literature and Theology 35, no. 2 (March 15, 2021): 198–219. http://dx.doi.org/10.1093/litthe/frab007.
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Abstract This article explores Marilynne Robinson’s attempt to reconcile the doctrine of predestination with a commitment to human agency by reading her novels Gilead, Home, Lila, and Jack alongside their intertextual companion, John Calvin. I argue that, rather than attempting to penetrate the enigma of predestination and agency through theological treatises, Robinson embodies the tension between them in fiction. Rather than defining a solution to the problem, she meaningfully charts the lived experience of it. Indeed, in the Gilead novels the experience of agency is itself agency within a universe defined by God’s omnipotence. At the same time, characters’ freedom to act otherwise than habit or impulse would dictate depends on right perception. Robinson’s unique contribution to an American literary and theological legacy is to animate these tensions as only fiction can. Her novels offer a theological vista that cannot be separated from their fictional content, and so things that seem like tautologies grow profound through narration.
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Lynch, Deidre. "“Is This Real?”." Victorian Literature and Culture 47, no. 1 (December 7, 2018): 103–9. http://dx.doi.org/10.1017/s1060150318001365.
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One salutary effect of encountering the often bizarre materials—Leibniz's possible worlds theory, war-games played in Prussian military academies, books about the presidency of Jefferson Davis—that Catherine Gallagher has assembled in Telling It Like It Wasn't is that one obtains a better purchase on the deep weirdness that also informs normal realist novels. That weirdness is central to the realist tradition's historical fictions especially, by virtue of the peculiar manner in which they compound together fictional invention and referentiality and call on readers to traverse the ontological chasms between the two.
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Ni, Xiaodi, and Lijun Tang. "An Analysis of Cultural Adaptation in the Translation of Names of Characters and Martial Arts Moves in Jin Yong’s Martial Arts Fiction." Studies in Linguistics and Literature 6, no. 3 (June 2, 2022): p1. http://dx.doi.org/10.22158/sll.v6n3p1.
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As the most influential and wide-spread literary genre in Chinese literature, martial arts fiction is deeply loved by the public for its distinctive narration style and language charm ever since 1960s. However, the martial arts fiction, represented by Jin Yong’s works, was neglected by Western literary and translation field. The reason lies in the abundant cultural elements contained in Jin Yong’s martial arts fictions, which is particularly true in the names of characters and martial arts moves. Therefore, how to translate such information emerges as the key to translating the full text. Legends of the Condor Heroes that is translated by Anna Holmwood is well recognized by Western world. On the basis of cultural adaptation, this thesis aims to explore the translation strategies that were adopted from the perspective of adaptation to different sense of nature, religious culture, custom and tradition as well as appreciation of the beauty. This paper finds that cultural adaptation effectively guided the translation when Holmwood deals with heterogenous cultural elements. Besides, cultural adaptation can facilitate the translation and oversea introduction of the same literary genre, and it can also promote “Chinese culture goes global”.
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Dennis, Megan. "Combinations to Reflect All Nations." Logos 30, no. 3 (January 20, 2020): 33–39. http://dx.doi.org/10.1163/18784712-03003002.
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As Children’s Laureate 2013–2015, Malorie Blackman raised awareness of the lack of racial diversity in children’s fiction. Underrepresentation of ethnic minorities in fiction and the publishing industry’s infrastructure is a severe problem in the world of children’s books, as illuminated by research into the publishing environment of the past 15 years, and the books populating current bestseller charts. Pierre Bourdieu’s theory of economic and symbolic capital is important to understanding how diversity is highlighted in the contemporary literary field, but his polarization of the different form of capital as motivation for creating art is reductive. Storytelling is about combining voices and experiences, and publishers can, and should, combine economic and symbolic motivations in publishing diverse fiction for children. Publishing a book because it will be successful economically and because it is the right thing to do are not mutually exclusive; in publishing diverse children’s fiction, both motives can and should inspire us.
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Altuna-García de Salazar, Asier. "Spectral Streams of Post-Consciousness in Mike McCormack’s Solar Bones (2016)." ES Review. Spanish Journal of English Studies, no. 42 (November 8, 2021): 81–103. http://dx.doi.org/10.24197/ersjes.42.2021.81-103.
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This article analyses Mike McCormack’s novel Solar Bones (2016) which narrates in a run-on sentence Marcus Conway’s everyday life within the rural context of a 2008 Celtic Tiger Ireland about to collapse. Drawing upon the narratological precepts of experimental writing, especially the use of streams of consciousness, and Derrida’s hauntology, this article argues that McCormack’s novel charts tensions of coherence and collapse in post-Celtic Tiger fiction. The narration takes place within a post- perspective as Marcus’s ghost brings it into existence. The experimentation with streams of post-consciousness and spectrality provides McCormack with valid aesthetic mechanisms to respond in fiction to Celtic Tiger concerns.
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Goodman, Debra. "Why Marco Can Read: Becoming Literate in a Classroom Community." Language Arts 82, no. 6 (July 1, 2005): 431–40. http://dx.doi.org/10.58680/la20054423.
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This article focuses on a child’s literacy experiences during one day in second grade. Marco attends an urban school of choice with a whole language philosophy. On this day in March, Marco participated in 30 literacy events involving 27 different texts including literature (fiction, non-fiction, poetry) and instrumental texts (labels, signs, charts, etc.). The social nature of literacy learning is examined by exploring the relationship between Marco’s literacy experiences and his literacy development. Marco, one of the less proficient readers in his class, is profoundly influenced by opportunities to observe and interact with other readers and writers. Marco makes meaning and learns language as he participates in classroom literacy events.
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Bernards, Brian. "Iridescent Corners." Prism 19, no. 2 (September 1, 2022): 374–93. http://dx.doi.org/10.1215/25783491-9966697.
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Abstract Starting in the 1970s, flash fiction developed into an outsized literary practice relative to other Sinophone forms in Singapore. Flash fiction's smallness and brevity cohere with the fast pace of urban Singaporean life and transformation of its cityscape, the compartmentalized relationship between the nation's four official languages, the marginality of literary spaces and challenges to maintaining literature as a profession, and Southeast Asia's relative obscurity as a world literary center (with Singapore as a small but important connective hub). Taking Yeng Pway Ngon's fleeting scene of Speakers' Corner (a flash platform of “gestural politics”) as a point of departure, this article charts a short history of Sinophone flash and its relationship to literary community building in Singapore through integrative readings of representative works by Jun Yinglü, Ai Yu, Wong Meng Voon, Xi Ni Er, and Wu Yeow Chong, recognizing their formal and thematic intersections not as “big ideas in tiny spaces” but as iridescent corners that traverse the state's cultural, political, and geographical out-of-bounds (OB) markers. Rather than privileging professional mastery, their works trace flash fiction's iridescent literariness and worldliness to hyperlocality (the physical and literary “corners” they illuminate), compressed temporality, a participatory culture of authorship, and a spirit of amateurism. This amateurism is derived not from a sense of linguistic underdevelopment or technical lack among these authors, but from their passionate and vulnerable engagement with the flash form, as well as the dissident moral conscience of their thematically and stylistically intersecting critiques of Singapore's sociopolitical OB markers.
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Mohammad Alahmad, Tarek Hider, and Asma Khaled Abdullah Alkasassbeh. "Linguistic Politeness and Gender: Apology Strategies: A Sociolinguistic Research." International Journal of Linguistics 12, no. 1 (February 17, 2020): 167. http://dx.doi.org/10.5296/ijl.v12i1.16484.
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This paper addresses Geoffrey Leech's (2014) three semantic classifications of apology on The Portrait of a Lady which was written by Henry James. The researchers apparently address Leech’s three semantic classifications and also there are two charts and a statistic table in order to be scientific while answering the preceding assumption about gender differences in apology strategies. Apology strategies sound well-known in Anglophone. In the literature of gender, this paper targets the linguistic politeness and gender to give the readers extra vision by studying the fiction. Moreover, the researchers' purpose in this paper is to address the stereotypical assumption that women used to be politer than men. In order to find out whether these differences in number of utterances by the two groups are statistically significant or not, the researchers have used some statistical tools, namely a (T-test). An analysis of the linguistic politeness and gender can help to deep insight into each character’s personae and experiences in the fiction as well as appreciate the special gist of the fiction as well.
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Luke, Stephanie. "Reading Like A Victorian." Charleston Advisor 22, no. 3 (January 1, 2021): 43–45. http://dx.doi.org/10.5260/chara.22.3.43.
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Reading Like a Victorian (RLV) allows users to experience the works of authors such as Dickens, Thackeray, and Eliot as they were first published. The website restores a number of novels to their original serial formatting and places them within a timeline of contemporary works accessible to the user. Currently, RLV features some 130 works, of which about a third are serialized fiction. Its content is largely sourced from other open access resources, and the site does not offer the user background information or notes on the works it features. The site is easily navigable, but the search function needs improvement.
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Lafon, Dominique. "Les Charmes du mirage Colette." Études littéraires 26, no. 1 (April 12, 2005): 73–86. http://dx.doi.org/10.7202/501032ar.
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Cet article se propose d'étudier l'imagerie colettienne telle qu'elle se manifeste dans deux publications récentes, Colette gourmande et Colette et la mode . Ces «livres d'art» recomposent l'univers de l'auteur en associant des extraits de son oeuvre à une iconographie savamment dosée qui mêle, selon un dispositif ambigu, photos souvenirs et photos d'artistes. Cette ambiguïté fait écho à celle de l'oeuvre de Colette dont l'écriture décline la thématique paradoxale de l'authentique et de l'artifice, du fictif et de l'autobiographique. Si on peut mettre en doute l'art de vivre au féminin que ces ouvrages prétendent reconstituer, force est de constater que l'hagiographie qu'ils manifestent met en évidence les ressorts de la fascination que continue à exercer Colette.
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Sutton, Emma. "‘Putting Words on the Backs of Rhythm’: Woolf, ‘Street Music’, and The Voyage Out." Paragraph 33, no. 2 (July 2010): 176–96. http://dx.doi.org/10.3366/para.2010.0003.
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This essay explores Virginia Woolf's representation of rhythm in two early texts — her neglected 1905 essay ‘Street Music’ and her first novel, The Voyage Out (1915). It teases out the texts' characterisations of musical, literary, bodily and urban rhythms, considering their implications for a theory of literary rhythm more broadly. Arguing that rhythm has a central place in Woolf's writing practice, prose style and theories of writing, the essay charts the relationship between rhythm, individuality and literary value in these texts, and in selected correspondence, diary extracts, essays and fiction.
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Bădulescu, Dana. "Autobiography as Fiction in “A Portrait of the Artist as a Young Man”." Linguaculture 2, no. 1 (June 30, 2011): 29–36. http://dx.doi.org/10.47743/lincu-2011-2-1-253.
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This paper looks into the artful way in which James Joyce fictionalizes his autobiography in his Künstlerroman A Portrait of the Artist as a Young Man. Joyce projects his essentially artistic self onto the fictional character Stephen Dedalus, the namesake of the classical ‘cunning’ ‘artificer.’ In his turn, Stephen dreams of becoming Joyce and writing Ulysses. Thus, Joyce’s personal history and Dublin’s geography lose their recognizable ‘reality’ in a blueprint of the artist’s mind that charts a Dublin and a self-reshaped by his imagination.
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Afifa Naz. "Intizar Hussain: The Master of Urdu-Hindi Civilization." MAIRAJ 2, no. 1 (July 17, 2023): 41–52. http://dx.doi.org/10.58760/mairaj.v2i1.14.
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Intizar Hussain was a fiction writer with a novel use of symbolic and metaphorical styles, but for all his retrospect and escapism and denial of the future, his writings have a strange poignancy and beauty. It has the same charm one feels in old buildings on moonlit nights. Besides being a respected name in Urdu fiction, he was a great challenge to the pioneer fiction writers due to his style and changing tones. The atmosphere of his writings echoes the stories of the past. Regret, rememberance of past , love of the classics, nostalgia for the past, lamenting the past and seeking refuge in tradition are very prominent here. In many places, the style and tone become harsh in expressing the sadness and expression of the disintegration of the old values and the superficial and sentimental nature of the new values. He also made the mythological trend a part of his writings. Extensive study is also required to find out the mysteries of their legends. A special kind of tension regarding migration is ongoing with Intizar Hussain. He could not logically separate himself from this situation. He was not interested in the external structure of life, but he cared about the condition that was faced inwardly. This is the deep diving and stylistic diversity of Intar Hussain. But they also call it intellectual and visual backwardness. In such a case, they declare the moral struggle of the individual as meaningless. This thematic and stylistic level is where Intizar Hussain seems to enter the foreground of fiction.
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Hughes, James, and Nir Eisikovits. "Post-Dystopian Technorealism of Ted Chiang." Journal of Ethics and Emerging Technologies 32, no. 1 (June 30, 2022): 1–14. http://dx.doi.org/10.55613/jeet.v32i1.97.
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In this article, we argue that Ted Chiang’s short stories offer a realist philosophy of technology, one that charts a third course between the techno-pessimism and techno-optimism that characterize the history of philosophizing about technology and much of the speculative fiction about it. We begin by surveying the history of utopian and skeptical approaches to technology in philosophy and speculative fiction. We then move to discuss two of Chiang’s recent stories and use them to articulate the author’s techno-realism. Chiang’s view, as it is developed in these stories, has three features: First, technology is not merely an agent of de-skilling, it can also promote self-knowledge and insight. Second, technology is not only an agent of alienation it can also provide succor and psychological relief. Finally, technology does not necessarily remake us into new beings with new capacities and needs. In many cases, it just gives us further avenues to be what we already were - to act on the tendencies and pursue the needs we always had.
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Oktaviani, Danissa Dyah. "Konsep Fantasi dalam Film." REKAM 15, no. 2 (October 1, 2019): 125–36. http://dx.doi.org/10.24821/rekam.v15i2.3356.
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Fantasy films were born from the development of fiction films that have shown existence since the beginning of its history. Fantasy films have their own charm because they can penetrate time and space compared to other genres. Fiction films develop from their creators both in terms of story and cinematography because fiction films are at the center of the poles: real and abstract. Its greatest strength lies in its ability to integrate and combine with other genres without exception and can be broadly developed unlimitedly. That is because fantasy films contain elements with different characteristics from other films where if a fantasy film has one element in the making of the film then it has been said to be a fantasy film. The elements or components that are seen are derived from the narrative and cinematic elements of filmmaking which contain ideas of stories, characters, and settings in a film. These three elements are the forming components of fantasy films that are fictitious and imaginative. The idea of the story is not based on an imaginary reality, that is a fiction that makes no sense. In the case of fantasy films, filmmakers will compete to develop and present ideas that have not been thought of before, so the audience seems to be carried away in a new world outside of real life. Character characters in fantasy films are the imagination of creators in fictitious forms, such as: animal characters, extraterrestrials, monsters, robots, and non-physical characters such as ghosts, spirits and holograms. While the background elements in fantasy films have a character setting place and time imaginative events are unique in unknown times or dimensions, can be past, present, and future with the centuries formed by the creators.
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Beck, Thomas J. "Women's Studies Archive: Rare Titles from the American Antiquarian Society, 1820‐1922." Charleston Advisor 24, no. 1 (July 1, 2022): 56–59. http://dx.doi.org/10.5260/chara.24.1.56.
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Women's Studies Archive: Rare Titles from the American Antiquarian Society, 1820‐1922 provides literature by female authors on the American woman's experience in the nineteenth and twentieth centuries. It is the third database in Gale's Women's Studies Archive, which is only one of a number of Gale Primary Sources collections. It contains more than one million pages of works from the American Antiquarian Society, all authored or edited by women. The works available here are drawn from the American Antiquarian Society's library collections and cover a wide variety of nonfiction subjects and fiction genres.This database is relatively easy to navigate, though the numerous available search and browse functions may prove confusing to some. Despite this relatively minor complication, this resource offers a broad and varied range of materials from female authors in the time period indicated above. This is not a subscription database; instead, it must be purchased. The price, based on full-time enrollment (FTE), can range from $22,080 to $27,600. The licensing agreement for this database is too long, overly detailed, and sometimes repetitive, but in most ways is average in its composition.
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Butler, Catherine. "Portraying Trans People in Children’s and Young Adult Literature: Problems and Challenges." Journal of Literary Education, no. 3 (December 12, 2020): 10. http://dx.doi.org/10.7203/jle.3.15992.
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The last twenty years have seen a proliferation of books for young people dealing with trans experience and issues. This article charts the emergence of transgender fiction for children and young adults, and its development during that period. It will address several questions arising from this phenomenon. How does the representation of trans experience differ when presented for a child readership rather than adults, and for younger children rather than adolescents? How are the representations of gender identity, gender expression and sexuality affected by considerations of audience? What are the tropes (or clichés) of trans fiction, and how have they changed? Whose points of view do the stories represent? Does it matter whether their authors are themselves trans? Is it more possible today than twenty years ago to assume some knowledge in child readers, or must every story “start from scratch”?
There is no single answer to any of these questions, but the article will note some of the trends discernible over a range of texts published in English since the start of the century, and describe some of the challenges in writing texts about trans experience in the future.
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Schubert, Jon. "The work-intensive fiction of frictionless trade in the Angolan port of Lobito." Focaal 2021, no. 89 (March 1, 2021): 64–78. http://dx.doi.org/10.3167/fcl.2021.890106.
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Cargo shipping, as emblematic stand-in for globalization, peddles a seductive imagery of frictionless transnational trade and just-in-time logistics. Backed by the normative might of transnational institutions, instruments such as UNCTAD’s Automated System for Customs Data (ASYCUDA) are being rolled out across “developing countries,” promising the rationalization, acceleration, and “dematerialization” of customs processing, while countries themselves introduce efficiency reforms to smoothen the flow of goods. This article charts the intensive work required to produce this fantasy of frictionless trade around the Atlantic port of Lobito, Angola. In a context where imports have dropped by 50 percent to 60 percent since 2014 due to lower oil prices, this article traces how actors involved in making this import-dependent economy work deal with the seeming failure of promises of transnationally connected economic growth.
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Dubois, Lise. "La représentation du vieillissement à la télévision: Des images de négation et d'exclusion dans une logique de mise en marché." Canadian Journal on Aging / La Revue canadienne du vieillissement 16, no. 2 (1997): 354–72. http://dx.doi.org/10.1017/s0714980800014392.
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AbstractThis paper is about the television representation of aging and the ensuing social discourse. We analysed the content of 756 hours of television (3 weeks from 2 television networks: Société Radio-Canada and TVA in March 1992). We found that television discourse in different types of programs (information, talkshows, fiction, advertising) uses many strategies that deny the aging process and, in doing so, reassure the public about aging. Television also talks about the exclusion of the elderly in our society. But, at the same time, it must charm these potential consumers. Old people watching several hours of television daily know that they are excluded from society, except as consumers.
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Stevens, Erica. "Alice Dunbar-Nelson’s Charm Aesthetics and the Bugbear of Social Equality." MELUS 44, no. 3 (2019): 129–54. http://dx.doi.org/10.1093/melus/mlz034.
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Abstract Alice Dunbar-Nelson’s The Goodness of St. Rocque, and Other Stories (1899) plays with the diminutive description of “charming” often given to local-color writers in order to imagine alternative social relations in an era determined by modes of difference and exclusion. Charm—an aesthetic category most generally understood to be manipulative, feminine, and a distracting accessory to beauty—becomes the method supporting this collection’s challenge to the contemporary discourse of “social equality.” In the late nineteenth century, social equality was a distorted idea meant to accuse those pushing for civil rights of also seeking to eliminate individual choice from the social world and the public sphere or, at the most extreme, of advocating intermarriage of the races. In her short story collection, Dunbar-Nelson responds to the issue of social equality not directly but through her unique understanding of how literary form and character could charm readers into attachments beyond intersubjective desire or assured knowledge. Throughout The Goodness of St. Rocque, and Other Stories, her narrators mystify the reader’s search for knowledge and turn characters into resistant objects. Building on critical conversations about Dunbar-Nelson’s challenges to racial categorization, this essay explores the connections between aesthetics and politics in the early work of this writer, a writer who otherwise expressed a desire to maintain a distinction between those two goals for her fiction.
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Airapetova, Svetlana G. "Variable methods of complex text analysis in Russian language lessons." Psychological-Pedagogical Journal GAUDEAMUS, no. 3 (2020): 44–49. http://dx.doi.org/10.20310/1810-231x-2020-19-3(45)-44-49.
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We considered methods of teaching Russian language and literature. To satisfy the student's desire for creativity we used various forms of work on editing, correcting texts on each lesson. We paid much attention to the study of vocabulary and stylistics. Practical stylistics considers ways to best use of speech tools. We gave the concept of “school” stylistics. We gave examples that give a rich material for stylistic analysis. We placed the emphasis on the fact that the artistic style differs from other styles of the Russian language primarily by a special aesthetic function. If spoken speech performs a communicative function – the function of direct communication, scientific and official business – an informative function – the function of communication (scientific or business), then the artistic style performs an aesthetic function, the function of an emotional-like influence on the reader or listener. Esthetic function defines fiction language, focuses attention on how ordinary words, used in everyday life, having been included in the poem, the story or the novel, get a special poetic charm, charm, depth for some reason.
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Crew, Louie. "Importing Vocabularies to Describe Literary Structure." Journal of Technical Writing and Communication 22, no. 1 (January 1992): 77–93. http://dx.doi.org/10.2190/xd1j-3whq-leqb-8rf4.
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With the vocabularies of their own disciplines, students majoring in technical subjects can access fresh insights into how writers write. For example, the symbols of computer flowcharts may bring insights when used to monitor rhetoric. Charts of organizational hierarchies, such as those that many corporate executives use, may illuminate equally well the shifting hierarchies of the characters in a work of fiction. Graphs and charts of syntactic and lexical networks may reveal the hidden structures of a narrative. An engineering major needs to see how a writer engineers words, a business major to see how a writer establishes hierarchies, a computer science major to see how a writer devises the flow of rhetoric. If we encourage students to explain literature with the professional vocabularies of their own disciplines, we can train them as lively apprentices, not as drudges. If we English teachers heed our students' special vocabularies, we may expect students to examine our own jargon more thoughtfully, such as the vocabulary by which we chart subordination and punctuation. Literature is everyone's heritage. No discipline monopolizes the critical insight or the vocabulary with which to articulate it.
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Boblet, Marie-Hélène. "Des faux amis aux frères ennemis : dialogue et conversation dans L’inquisitoire, Le square, L’amante anglaise, Le dîner en ville." Tangence, no. 79 (April 24, 2006): 55–73. http://dx.doi.org/10.7202/012851ar.
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Du dialogue à la conversation, de la conversation au dialogue : c’est de l’entretien de ces deux pratiques poétiques de l’échange verbal que traitera cet article. Après la Seconde Guerre mondiale, la mémoire du genre littéraire de la conversation se ranime, grâce au charme et à l’agrément de la vivacité, de la légèreté et de la fantaisie. Simultanément, les ambitions intellectuelles du dialogue, dont la pratique emprunte aux philosophes, séduisent des romanciers qui délaissent la narration de fiction et le romanesque pour le discours de l’enquête. Les nouveaux romanciers, en particulier, accusent la crise du roman et relancent le genre sur de nouvelles voies : quête de mémoire, de savoir, dialogue entre les âmes, communication intérieure combinent la vocation heuristique du dialogue et la séduction quasi érotique de la conversation.
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David, Alison Matthews. "First Impressions: Footprints as Forensic Evidence in Crime in Fact and Fiction." Costume 53, no. 1 (March 2019): 43–66. http://dx.doi.org/10.3366/cost.2019.0095.
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As skilled ‘detectives’, dress historians are experts in closely reading surviving artefacts and using them to glean evidence of the lives of those who made and wore them. With shoes and footwear, this rich, object-based approach can yield new information that challenges established histories. This article turns traditional object analysis on its head by interrogating instead the impressions and traces that objects leave behind, taking a forensic approach to footwear. It examines the rise of scientific policing and the history of footprints as a key form of evidence in crime fact and fiction. Five key British and Francophone stories and novels written between 1833 and 1931 provide a barometer of how narratives of the capital offence of murder and footwear evidence shifted during this century. These are interwoven with contemporary forensic science texts, police handbooks, newspaper articles and trial transcripts from the Central Criminal Court of England and Wales, commonly known as the Old Bailey. This article charts the shift in perceptions that occurred between 1830 and 1890, which I call the ‘Age of Conviction’, a period where there was a widespread belief in the veracity of prints, to an ‘Age of Suspicion’ from 1890 to 1930, as more scientific and critical methods of examination and recording made detectives and the public sceptical and wary of deception.
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LI, Hongqing. "A Study of Bloom Narrative in Elizabeth Gaskell’s Fiction." Asia-Pacific Journal of Humanities and Social Sciences 3, no. 1 (March 15, 2023): 027–38. http://dx.doi.org/10.53789/j.1653-0465.2023.0301.005.p.
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Elizabeth Gaskell was an influential female writer in the 19th-century English literary arena. The courtship and marriage narrative almost ran through all her fiction. This paper argues that Linnaeus’ botanical system provided discourse support for her courtship and marriage narrative. From the late 18th century to the 19th century, as Linnaean classification popularized, the term “flower”(plants’sexual organ) became more commonly used as “bloom,” referring to “potential sex.” Linnaeus termed the sexual reproduction of a flower marriage, linking “sex” to marriage and rendering the natural (illegitimate) meaning of sex socialized (legitimate). In this cultural context, Gaskell introduced “bloom narrative” into her works, using “bloom” and its cognate words “garden, landscape, etc.” to represent the sexual attraction of blooming girls and reproduce their marriage and courtship, and using botanical language as a metaphor for the process of female socialization to explore the possible social consequences. It is worth noting that Linnaeus divided plants into public marriage and clandestine marriage according to whether flowers could be seen by the naked eye. Gaskell not only reproduced the sexual attraction in public marriages as traditional writers as Austen did but also discussed the sexual attraction in clandestine marriages. In North and South, Linnaeus’s “public marriage” category was represented. Gaskell linked sexual attraction to marriage and enabled the heroine to successfully exercise her feminine influence, and thus facilitate labor-capital reconciliation, demonstrating her strong desire to bridge the gap between the public and private spheres. In Ruth, by separating sexual attraction (bloom) from marriage and treating the sexual behavior of the hero and heroine as Linnaeus’s “clandestine marriage,) Gaskell presented both the heroine’s sexual charm and her innocence, thus effectively challenging the traditional narrative of depraved women. The bloom narrative meets Gaskell’s multiple requirements of conforming to secular moral values, achieving realistic effects as well as participating in the discussion of gender topics, which reveals her diverse and cross-boundary artistic creation concept.
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Wills, Bradley, Sung Ro Lee, Parke William Hudson, Bahman SahraNavard, Cesar de Cesar Netto, Sameer Naranje, and Ashish Shah. "Calcaneal Osteotomy Safe Zone to Prevent Neurological Damage: Fact or Fiction?" Foot & Ankle Specialist 12, no. 1 (March 13, 2018): 34–38. http://dx.doi.org/10.1177/1938640018762556.
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Background. Calcaneal osteotomy is a commonly used surgical option for the correction of hindfoot malalignment. A previous cadaveric study described a neurological “safe zone” for calcaneal osteotomy. We performed a retrospective chart review to evaluate the presence of neurological injuries following calcaneal osteotomies and the location of the osteotomy in relation to the reported safe zone. Methods. In this retrospective study, we reviewed charts of patients who underwent calcaneal osteotomy at our institution from 2011 to 2015. All immediate postoperative radiographs were examined and the shortest distance between the calcaneal osteotomy line and a reference line connecting the posterior superior apex of the calcaneal tuberosity to the origin of the plantar fascia was measured. If the osteotomy line was positioned within an area 11.2 mm anterior to the reference line, it was considered to be inside the neurological safe zone. We correlated the positioning of the osteotomy with the presence of postoperative neurological complications. Results. We identified 179 calcaneal osteotomy cases. Of the 174 (97.2%) nerve injury-free cases, 62.6% (109/174) were performed inside the defined “safe zone” while 37.4% (65/174) outside. A total of 5 (2.8%) nerve complications were identified: 3 (60%) were inside the safe zone and 2 (40%) outside the safe zone. Osteotomies outside the safe zone had a 1.114 relative risk of nerve injury with a 95% CI of 0.191 to 6.500 and showed no statistically significant difference ( P = .9042). Conclusion. Our findings suggest that the clinical “safe zone” in calcaneal osteotomies may not actually exist, likely because of wide anatomical variation of the implicated nerves, as described in prior studies. Patients should be properly counseled preoperatively on the low, but seemingly fixed, risk of nerve injury before undergoing calcaneal osteotomy. Levels of Evidence: Level III: Retrospective comparative study
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Stella, Massimo. "“She did make defect perfection”—The Perfection of the Female Monster: Shakespeare’s Cleopatra and the Querelle des Femmes." Renaissance and Reformation 46, no. 3 (February 15, 2024): 451–79. http://dx.doi.org/10.33137/rr.v46i3.42690.
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“She did make defect perfection” (Antony and Cleopatra 2.2.242): by this formula, Enobarbus sums up the essence of Cleopatra’s inimitable charm. Shakespeare’s Cleopatra is a study of women and women: in other words, Shakespeare’s Cleopatra is less fiction than an investigation of the other sex. “Was will das Weib?” asked Freud (if we are to believe Marie Bonaparte’s testimony), thus admitting that the great question psychoanalysis has been unable to answer is the enigma of feminine desire. Shakespeare’s Cleopatra represents this enigma, which takes the form of a perfection resulting from a series of paradoxes: beauty and maturity, cunning and folly, fidelity and betrayal, jealousy and indifference, majesty and debauchery, expense and economy, audacity and fragility, truth and lies. Cleopatra’s perfection is the sum of all possible paradoxes. What is the point of this dizzying interplay of paradoxes? What is the resulting perfection?
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Miller, Christopher. "Provocateur Pieces*: Bishop Ampleforth Is Not a Pawn." English Education 48, no. 2 (January 1, 2016): 177–84. http://dx.doi.org/10.58680/ee201627668.
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This piece is a satirical look at the stultifying state of the English classroom in an age of over-testing. Bishop, the eponymous new student at Henry Ford High School, attempts to make sense of his classroom, where students prepare for the next in a parade of tests that will measure their creativity. In this dystopia, writing has been completely codified, distilled to a series of formulae, mechanisms, and flow charts that purport to deliver writers to proficiency. Layered with themes of power, politics, and dehumanization, the piece endeavors to caricature the folly of over-measurement while providing catharsis to those whose real-life classrooms are all too similar to the one depicted. The piece is followed by an actual missive the author received from his union representative after this piece had been accepted that demonstrates how fact isn’t far from fiction: life indeed imitates art.
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Leplatre, Olivier. "Figurabilité de la métamorphose chez La Fontaine." Littératures 87 (2023): 143–59. http://dx.doi.org/10.4000/121yv.
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Un parcours à travers les Fables, Les Amours de Psyché et de Cupidonet Le Songe de Vaux illustre la manière dont la métamorphose travaille l’œuvre de La Fontaine au point de constituer l’un de ses schèmes structurants et explicatifs. Plus ou moins sensibles ou rétives, en fonction de leurs genres, aux charmes de la métamorphose dont la Fable est le principal référent, les fictions lafontainiennes passent au crible du beau et du bon ses qualités et sa valeur ; elles l’appréhendent alternativement ou simultanément comme une illusion ou un miracle ; elles relèvent son défi, qu’il soit chance ou malédiction, aidant alors le poète à définir l’identité de son art comme preuve de la vie active des formes, accueil des possibles et expérience régénératrice.
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Chandna, Mohit. "Time is Money: Spaces of Colonial Desire and Jules Verne." Victoriographies 3, no. 2 (November 2013): 184–205. http://dx.doi.org/10.3366/vic.2013.0131.
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What Jules Verne charts in his Le tour du monde en quatre-vingts jours isn't just the itinerary that his famous character Phileas Fogg traverses in his quest to travel around the world in eighty days. Instead, what we witness are the workings of a colonial-capitalist discourse that reduces the entire planet to an easily exchangeable commodity. This paper analyses how Fogg's journey resituates indigenous landscapes according to a colonial grammar. Vernien geography authorises only those fictional spatial and temporal paradigms that are consistent with the colonial project of capitalistic expansion.
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Karpukhina, T. P. "AESTHETIC ASPECTS OF EKPHRASIS IN GUY DE MAUPASSANT’S SHORT STORY «UN PORTRAIT» («A PORTRAIT»)." Bulletin of Kemerovo State University, no. 1 (April 25, 2018): 193–200. http://dx.doi.org/10.21603/2078-8975-2018-1-193-200.
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The current article features the phenomenon of ekphrasis, i.e. a verbal representation of a work of fine arts in fiction, as presented in Guy de Maupassant’s short story "Un portrait". Aesthetic aspects of ekphrasis alongside the linguistic means of its expression are subjected to analysis. The leitmotif of the short story is the thematic motive of an enigmatic, inexplicable mystery that is unraveled at the end of the story. The firstperson narration begins with the description of a gentleman whose indescribable charm fascinates everyone he meets. Being invited to his house, the narrator notices a portrait of an extremely charming lady that happens to be the host’s mother, who died very young. That is how the mystery of the irresistible and captivating charm of the gentleman is solved. The portrait turns out to be a doppelganger of the host, and thus the archetypal ekphrastic motif of an image coming to life is realized. Both the main character of the story as a human being in the flesh and the image in the picture as a still, non-living work of art, manifest themselves as equally significant aesthetic objects, united by one common inherent quality, i.e. the magic and charm of beauty. The beauty does not ensue from the well-bred manners of the son or from a spell-binding expression of the mother’s eyes; the beauty lies in their capability of being absolutely natural, in harmony with their own selves. Aesthetic aspects of the ekphrastic description find their expression in a variety of linguistic means (epithets, metaphor, personification, simile, syntactic parallelism, etc.). Particular significance belongs to a big number of lexical units pertaining to visual perception, which is a specific feature of the archetypal scheme of ekphrasis. Equally important are the words and phrases characterizing the vitality of the image portrayed.
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Leighton, Mary Elizabeth, and Lisa Surridge. "EVOLUTIONARY DISCOURSE AND THE CREDIT ECONOMY IN ELIZABETH GASKELL'SWIVES AND DAUGHTERS." Victorian Literature and Culture 41, no. 3 (September 2013): 487–501. http://dx.doi.org/10.1017/s1060150313000065.
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When Elizabeth Gaskell died inNovember 1865, she left unfinished her final novel,Wives and Daughters(1864–66). TheCornhill Magazine's editor, Frederick Greenwood, published a tribute to Gaskell with the novel's final installment. Her fiction, he wrote, pulls you from “an abominable wicked world, crawling with selfishness and reeking with base passions into one where there is much weakness, many mistakes, sufferings long and bitter, but where it is possible for people to live calm and wholesome lives . . .” (Gaskell 685–86; ch. 60). As Linda K. Hughes and Michael Lund observe, Greenwood shaped Gaskell's reputation for a hundred years “as an author whose work captured . . . the idyllic charm of a lost era” and took “readers away from unpleasant realities” (158). Notably, Greenwood's list of “unpleasant realities” (wickedness, selfishness, and base passions) implicitly refers to capitalism — that is, to the economic world of the 1860s from which Gaskell ostensibly encouraged her readers to retreat.
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Ashraf, Muhammad, Muhammad Ibrahim, and Muhammad Sultan. "Dr. A. B Ashraf as a Pen Sketcher: An Analytical Study." Journal of Languages, Culture and Civilization 5, no. 2 (June 28, 2023): 89–100. http://dx.doi.org/10.47067/jlcc.v5i2.175.
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Dr. A.B. Ashraf is a well-known and well-grounded researcher of Urdu literature. He is an authentic critic, fiction writer, travel writer and educationist. B. Ashraf's pen sketches are outstanding. The main reason for its popularity is pen sketches of ancient and modern poets, scholars and writers. By his pen portraits, B. Ashraf gave new breaths to the ancient civilization, culture of Multan, both classical and modern poets. His readers are privileged to know the history of Multan by his pen portraits. Humorous incidents, ironic statements and exquisite dialogues make them captivating. “Kesy Kesy Log” is the masterpiece of Dr.A.B. Ashraf. The depiction of writers, the magnificent combination of Siraiki and Urdu phrases, dance, ecstasy, charm of literary gatherings, alluring imagery, elegant style and poetic episodes enhance its excellence. This magnum opus is of great importance in preserving the name of Dr. AB Ashraf alive and exuberant in the tradition of Urdu pen sketching.
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Sánchez-Arce, Ana María. "Performing innocence: Violence and the nation in Ian McEwan’s Saturday and Sunjeev Sahota’s Ours Are the Streets." Journal of Commonwealth Literature 53, no. 2 (February 14, 2017): 194–210. http://dx.doi.org/10.1177/0021989416686648.
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Mainstream British society and post-9/11 fiction borrow from the discourse of American exceptionalism (including the fall from innocence to experience, the desire to create or preserve a better world, a “Messianic consciousness” reflecting the arrogance of virtue, the development of narratives of heroism and goodness tied to nation-building, and the use of the above to justify “exemptionalism”) to expose and query the entitlement of those within the narrative home of Britishness and the outsider status of those used to define its borders. This article discusses Ian McEwan’s Saturday and Sunjeev Sahota’s Ours Are the Streets, arguing that they illustrate a turning point in Britain’s imagination of itself as a nation in a struggle over Britishness which is predicated on notions of violence and innocence. Since 9/11 the debate about Britishness has used innocence as a constitutive inside of the nation and direct violence as an exclusionary characteristic. McEwan satirizes this rhetoric of innocence whereas Sahota challenges it. Both novels illustrate how post-9/11 British fiction deals with politics as war, placing violence at the heart of society. McEwan parodies the point of view of British normative society by allowing his main character to justify his privileged position under the guise of arguing for the current social and international status quo. Sahota charts the journey of those who are caught between the rejection of unjust social structures and the desire to fit within them, depicting his protagonist’s misguided attempt to redefine the British nation through terrorism. Violence and exceptionalism are central to both novels, which portray a turn in the imagining of Britain. The events of 9/11 can therefore be seen not just as a historical turning point but as a turn in Britain’s imagination of itself.
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Reuber, Alexandra. "Voodoo Dolls, Charms, And Spells In The Classroom: Teaching, Screening, And Deconstructing The Misrepresentation Of The African Religion." Contemporary Issues in Education Research (CIER) 4, no. 8 (August 15, 2011): 7. http://dx.doi.org/10.19030/cier.v4i8.5611.
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New Orleans voodoo, also called crole voodoo, is an amalgamation of an honoring of the spirits of the dead, a respect for the elderly and the spiritual life, African knowledge of herbs and charms, and European elements of Catholicism. It is a religion of ancestor worship that is unknown to us, and that we are not necessarily exposed to or included in. As such, it is something foreign to our own belief system. Being ignorant about what the religion entails, people in general stigmatize it as something not worthy to discuss, nor to practice. Unfortunately, popular novels like Voodoo Season (2006) and Voodoo Dreams (1995) by Jowell Parker Rhodes, and especially Hollywoods production of horror movies such as White Zombie (1932), I Walked with a Zombie (1943), The Serpent and the Rainbow (1987), Voodoo Dawn (1998) or Hoodoo for Voodoo (2006), do not provide the public with a truthful background of the African, Haitian, or New Orleanean voodoo tradition. All too often these fictional sources fuel the already existing misrepresentations of the religion and represent it as something shadowy, highly secretive, and fearful. This differentiated introduction to New Orleans voodoo via Iain Softleys film The Skeleton Key (2004) exposes students to the major characteristics of the religion, makes them aware of popular cultures falsified voodoo construct, and teaches them how to deconstruct it. This interactive approach is student centered, appeals to their individual intelligences and learning styles, promotes critical thinking, and trains analytical skills.
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Wuryani, Woro. "PESONA KARYA SASTRA DALAM PEMBELAJARAN BAHASA DAN BUDAYA INDONESIA." Semantik 2, no. 2 (May 16, 2017): 87–101. http://dx.doi.org/10.22460/semantik.v2i2.p87-101.
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Literary work is not born out of the void culture. Literary works can not be regarded as a mere fiction. Charge meanings into one literary charm. Learning literature always cause problems. Ranging from limited knowledge of the teacher to the position of literary works for students. The low ability of interpretation of a literary work of teachers and students is also a problem in the learning literature. Literary works to bring the mission to inculcate noble values and shape the character of his readers. Through literature teachers can shape the attitudes and character of students. Alienation literature for students is a problem that has occurred at this time. Literary works have a close relationship with culture. Literature was born from the culture of literature also reflects the culture. How many local wisdom drawn from the culture. One example of literary works are full of cultural values is rhyme. The values depicted in the poem describes that Indonesian culture is one of deliberation andconsensus.Keywords: literature, language learning, learning literature
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Sun, Lei. "Aesthetic Trends and Evolutions in Photography Art in the Digital Era." Academic Journal of Management and Social Sciences 7, no. 3 (June 27, 2024): 107–10. http://dx.doi.org/10.54097/whhc5x16.
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In recent years, the rapid development of digital technology has not only changed people's lifestyles but also brought new opportunities for industry reform. Under the context of the digital era, the creation methods, dissemination methods, and aesthetic trends of photographic works have all undergone varying degrees of change, bringing new opportunities and challenges to the development of photography art. The widespread application of internet technology and digital processing technology, as well as the popularization of photographic equipment, has brought more new possibilities for the creation and expression of photography art. This can appropriately expand the aesthetic field of photography art and endow it with diverse, personalized, and instant characteristics. Therefore, in the new era context, the fusion of reality and fiction, and the combination of art and technology will become aesthetic trends in photographic technology. Photographers, based on the actual development situation, should explore and innovate in a targeted manner to fully display the unique charm and profound connotation of photography art, meeting the various requirements of the new era.
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Wasąg, Magdalena. "Księga Twarzy. Rysunki Brunona Schulza w Bystrzycy Kłodzkiej." Schulz/Forum, no. 13 (October 28, 2019): 191–212. http://dx.doi.org/10.26881/sf.2019.13.14.
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Bruno Schulz’s drawings in which we may find the faces of his friends and colleagues, the students and teachers of the Drogobych high school, have been scattered. Most of them perished during World War II. Some of those which have been preserved now belong to private collections. Thanks to a favorable coincidence, some pencil sketches by Schulz have been found in such a collection. They show an intriguing young woman, Stanisława Szczepańska, who in 1934-1936 worked as an unpaid teacher at the Drogobych high school. There she met Schulz who drew her portraits during school breaks as well as during lessons, when he would come in, take a seat in the last row, and draw her face. Until now little has been known about Szczepańska. After so many years it is worth disclosing a secret: who was she? What happened to her later? How did it happen that Schulz noticed her? How was it possible to save the drawings? The present paper provides answers to these and many other questions as the author has made an attempt to show how Szczepańska’s biography became a part of Schulz’s artistic heritage. Pencil sketches definitely belong to a more general project of the Drogobych artist as exercises in portraying faces both in drawing and fiction. Studying faces was very important to Schulz. In his work, the drawing practice and fiction are closely related to each other. To find out more about them, it is essential to find and save Schulz’s scattered works. This postulate has been articulated in the paper supplemented with the reproductions of Schulz’s sketches and photographs from the Hoffmann family collection. The portraits of Szczepańska tell a unique story – about charm, the art of seeing, and Schulz’s Book of Faces.
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Morse, Benjamin. "Introduction to a Dandy, Part I." biblical interpretation 22, no. 2 (February 18, 2014): 132–45. http://dx.doi.org/10.1163/15685152-0022p02.
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The first half of this introduction to Qoheleth reads the book as a record of ideas mulled over by a dandy at a series of salons. While scholars have attempted to impose order on the book’s structure and classify it according to genres, I formulate an understanding of the speaker’s lively wisdom from the extraneous voices of John Galsworthy, Beau Brummell and Oscar Wilde. Thomas Carlyle’s Sartor Resartus (The Tailor Retailored) serves as a model of fictional philosophy that allows us to appreciate Qoheleth’s existential concerns as both ironic and serious. I keep references to biblical commentaries at bay and create a typology within which the biblical sage comes to life as a social creature of comfort. Part II will draw a specific parallel between the book’s first chapter and a collage by the conceptual dandy Marcel Duchamp. For the moment Qoheleth’s charms are given a fresh face via creative interdisciplinary comparison.
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Pamnani, Sunita, C. S. Shrivastava, and Hemlata Nagar. "AN INVESTIGATION INTO THE READING PATTERNS OF KHANDWA DISTRICT STUDENTS." International Journal of Engineering Science Technologies 5, no. 5 (September 7, 2021): 1–7. http://dx.doi.org/10.29121/ijoest.v5.i5.2021.202.
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The aim of the research was to evaluate students' reading patterns and how they affected their academic success. The research was carried out in the Khandwa District of Nimar's Eastern Region. The data was gathered using a questionnaire. The obtained data was quantitatively studied using the Statistical Package for Social Science (SPSS).The findings were presented in the form of graphs and charts. 100 of the 150 questionnaires circulated were filled and returned, accounting for 95.0 percent of the total. The results revealed that while the majority of respondents recognize the value of reading, 81.9 percent of respondents have not read a book or a piece of fiction in the last two semesters, and 62.0 percent of respondents still read to pass an exam.The study found that reading habits have an impact on academic success and that there is a connection between reading habits and academic achievement. The study suggested, among other things, that lecturers avoid handing out handouts to students and instead allow them to use the library for studying, and that the new method of grading students be reconsidered in terms of grading formulae.
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Hunt, Dallas. "“In search of our better selves”: Totem Transfer Narratives and Indigenous Futurities." American Indian Culture and Research Journal 42, no. 1 (January 1, 2018): 71–90. http://dx.doi.org/10.17953/aicrj.42.1.hunt.
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Much contemporary science fiction urges us to focus on eco-activism and sustainable futures in order to prevent environmental catastrophe. From a critical Indigenous and anticolonial perspective, however, the question becomes “for whom are these futures sustainable”? Set in a nondescript desert dystopia, George Miller's film Mad Max: Fury Road 2015 alludes to the westerns of yesteryear and the Australian “outback”—spaces coded as menacing in their resistance to being tamed by settler-colonial interests. This article charts how Miller's film, while preoccupied with issues pertaining to global warming and ecological collapse, replicates and reifies settler replacement narratives, or what Canadian literature scholar Margery Fee has referred to as “totem transfer” narratives (1987). In these narratives, ultimately the “natives” transfer their knowledges and then disappear from view, helping white settlers remedy the self-created ills that currently threaten their worlds and enabling them to inherit the land. In the second half, I also consider how Indigenous futurist texts offer decolonizing potentials that refute the replacement narratives that persist in settler-colonial contexts. In particular, I examine how Indigenous cultural production emphasizes the importance of the intergenerational transfer of Indigenous knowledges and refuses the hermeneutic of reconciliation that seeks to discipline Indigenous futures in the service of a settler-colonial present.
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Weinstock, Jeffrey Andrew. "Dead is not better: The multiple resurrections of Stephen King’s Revival." Horror Studies 12, no. 2 (October 1, 2021): 189–203. http://dx.doi.org/10.1386/host_00037_1.
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Stephen King’s 2014 novel, Revival, plays with its title in several respects. It is first a familiar Frankenstein-esque narrative about a mad scientist who seeks to revive the dead. It is also, however, about religious revivals, both in the specific sense of the religious gatherings held by minister and main antagonist Charles Jacobs, and in the more general sense of attempting to find something in which to place one’s faith in a world where accidents can claim the lives of loved ones. Beyond this, Revival plays with its title in two more senses. First, it elaborates on the recurring theme in King of existentialist angst precipitated by the death of a child or loved one, which King uses to question God’s benevolence or existence. In order to ask these questions, King also resurrects the spirit of Mary Shelley, taking from Frankenstein the theme of reanimation of the dead. The narrative’s conclusion, however, offers yet another revival as it transitions us from the horror of Shelley to the weird fiction of Arthur Machen and H. P. Lovecraft. Thus, through these various revivals, King’s novel charts the evolution of twentieth- and twenty-first-century horror from Shelley to Lovecraft and our contemporary ‘weird’ moment.
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TRODD, ZOE. "John Brown's Spirit: The Abolitionist Aesthetic of Emancipatory Martyrdom in Early Antilynching Protest Literature." Journal of American Studies 49, no. 2 (May 2015): 305–21. http://dx.doi.org/10.1017/s0021875815000055.
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Before his execution in 1859, the radical abolitionist John Brown wrote a series of prison letters that – along with his death itself – helped to cement the abolitionist aesthetic of emancipatory martyrdom. This article charts the adaptation of that aesthetic in antilynching protest literature during the decades that followed. It reveals Brown's own presence in antilynching speeches, sermons, articles, and fiction, and the endurance of the emancipatory martyr symbol that he helped to inaugurate. Between the 1880s and the 1920s, black and white writers imagined lynching's ritual violence as a crucifixion and drew upon the John Brown aesthetic of emancipatory martyrdom, including Frederick Douglass, Stephen Graham, James Weldon Johnson, Walter White, black Baptist ministers, and black educators and journalists. Fusing martyrdom and messianism, these antilynching writers made the black Christ of their texts an avenging liberatory angel. The testamentary body of this messianic martyr figure marks the nation for violent retribution. Turning the black Christ into a Brown-like prophetic sign of God's vengeful judgment, antilynching writers of the late nineteenth and early twentieth centuries warned of disaster, demanded a change of course, challenged white southern notions of redemption, and insisted that African Americans must reemancipate themselves and redeem the nation.