Academic literature on the topic 'Chocolate in fiction'
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Journal articles on the topic "Chocolate in fiction"
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Clawson, Nicole P. "Treasure Island and The Chocolate War: Fostering Morally Mature Young Adults through Amoral Fiction." ALAN Review 44, no. 2 (December 21, 2017): 54–58. http://dx.doi.org/10.21061/alan.v44i2.a.6.
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Chatraporn, Surapeepan. "The Defiance of Patriarchy and the Creation of a Female Literary Tradition in Contemporary World Popular Fiction." MANUSYA 9, no. 3 (2006): 35–53. http://dx.doi.org/10.1163/26659077-00903002.
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Laura Esquivel, Mexican, Joanne Harris, British, Fannie Flagg, American, and Isak Dinesen, Danish, are women writers who have written contemporary world popular fiction: Like Water for Chocolate, Chocolat, Fried Green Tomatoes at the Whistle Stop Café, and the short story 'Babette's Feast'. Out of their desire to reflect their female identity, these women writers of four different nationalities have concertedly rejected the long-running male literary tradition, in which male characters rule and dominate and, in turn, have created a female literary tradition in which their female characters not only assert a solid and secure place in the world but also are allowed to display their female strength, resourcefulness and dominance. These contemporary women writers have brought about significant changes in contemporary fiction in which they terminate literary stereotypes and discard traditional female roles and 'untrue ' images imposed on women. These women authors reduce the male role, ridicule male characters and reverse male authority. While lessening the male role, they increase the female role, make female characters the focus of their works, and reverse former traditional practice by portraying male characters as marginal, subordinate or complementary to female interests and desires. Besides, rather than penalizing 'bad girls' these authors reward 'bad girls' and in some cases allow them to prevail in the end. The women writers, furthermore, step over the boundary into the domain of art and create female characters who take the role of accomplished artists. Theme-wise these authors determinedly deal with such distinctive feminine concerns as food, cooking, and nurturing, traditionally treated as trivial and unimportant, by drawing attention to their universal significance and elevating them to serious literary subject matter.
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Kistler, Jordan. "A POEM WITHOUT AN AUTHOR." Victorian Literature and Culture 44, no. 4 (November 4, 2016): 875–86. http://dx.doi.org/10.1017/s1060150316000255.
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These lines begin an “Ode” which has permeated culture throughout the last hundred years. In 1912, Edward Elgar set it to music, as did Hungarian composer Zoltán Kodály in 1964, to commemorate the 700th anniversary of Merton College, Oxford. In 1971, Gene Wilder spoke the opening lines as Willy Wonka in the film Willy Wonka & the Chocolate Factory. The words appear as epigraphs in an eclectic range of novels, including science fiction (Raymond E. Feist's Rage of a Demon King), fantasy (Elizabeth Haydon's The Assassin King), and historical fiction (E. V. Thompson's The Music Makers). They are quoted in an even more varied selection of books, including travelogues (Warren Rovetch's The Creaky Traveler in Ireland), textbooks (Arnold O. Allen's Probability, Statistics and Queueing Theory and R. S. Vassan and Sudha Seshadri's Textbook of Medicine), New Age self-help books (Raven Kaldera's Moon Phase Astrology: The Lunar Key to Your Destiny), autobiographies (Hilary Liftin's Candy and Me, a Love Story) and pedagogical guides (Lindsay Peer and Gavin Reid's Dyslexia – Successful Inclusion in the Secondary School).
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Lucas, James. "Fiction, Politics, and Chocolate Whipped Cream: Wallace Stevens's "Forces, The Will, & The Weather"." ELH 68, no. 3 (2001): 745–61. http://dx.doi.org/10.1353/elh.2001.0026.
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Chatraporn, Surapeepan. "From Whore to Heroine: Deconstructing the Myth of the Fallen Woman and Redefining Female Sexuality in Contemporary Popular Fiction." MANUSYA 11, no. 2 (2008): 24–37. http://dx.doi.org/10.1163/26659077-01102002.
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The fallen woman, long existent in patriarchal discourse and intensified by Victorian sexual ethics, succumbs to seduction or sensual desires, suffers social condemnation and ostracism, and eventually dies, either repentantly or shamelessly. The questions of female sexuality and feminine virtues are dealt with in The Great Gatsby, Daisy Miller and The Awakening. Daisy Buchanan, Jordan, and Myrtle, all three sexually transgressive women, are punished, with Myrtle, the most sexually aggressive, being subjected to an outrageous death penalty. Daisy Miller, upon engaging in acts of self-presentation and female appropriation of male space, undergoes social disapprobation and dies an untimely death. Edna, though boldly adopting a single sexual standard for both men and women and awakening to life’s independence and sexual freedom, eventually realizes there is no space for her and submerges herself in the ocean. In contrast, the recent contemporary narrative pattern deconstructs the myth of the fallen woman and allows the fallen woman to live and prosper. The fallen woman, traditionally a secondary character who is considered a threat to the virtuous heroine, has emerged as a major or central character with a revolutionary power that both conquers and heals. Like Water for Chocolate, Chocolat and Fried Green Tomatoes at the Whistle Stop Café acknowledge female mobility and sexual freedom and appropriate a space hitherto denied to fallen women. Eva Bates and Gertrudis, satiating female sexual desires and representing eroticized female bodies, overturn the traditional narrative of falling and dying by becoming competent and worthy members of society. Tita and Vianne are central heroines who challenge the cult of true womanhood, embody the sexualized New Woman and display strength and personal power, making them pillars of their communities.
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Bieliekhova, Larysa, and Alla Tsapiv. "Cognitive Play Model of Narration “Quest” in Roald Dahl’s Fairy Tale Charlie and the Chocolate Factory." PSYCHOLINGUISTICS 25, no. 2 (April 18, 2019): 11–30. http://dx.doi.org/10.31470/2309-1797-2019-25-2-11-30.
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The article focuses on reconstruction and analysis of the model of narration “Quest” in Roald Dahl’s fairy tale Charlie and the Сhocolate Factory. A narrative text is considered as a unit with semantic and communicative completeness. It is claimed that the elements of the narrative structure are narrator, narratee, the story (which includes the plot and its composition, fiction characters) and the model of narration. It is assumed that model of narration is a cognitive and linguistic construal, inbuilt into the narrative structure of the text. It is believed that play tenet forms the background of the model of narration of the fairy tale Charlie and the Сhocolate Factory. The model of narration determines a definite plot and composition, a certain type of narrator and narratee. The semantics of search is realized in the plot – the search of the Golden ticket, the search of the secrets of the chocolate factory, overcoming the obstacles. Characters of the fairy tale are quest participants. Four of them personify simulacrums of modern society (Bodriyar) – greed and gluttony (Augustus Gloop), parent’s permissiveness (Veruca Salt), uncontrolled TV watching (Mike Teavee), vanity (Violet Beauregarde). The fifth quest participant Charlie Bucket embodies modesty and honesty. The narrator of the fairy tale tells the story from the point of view a didactic adult, who criticizes pseudo values of the characters and supports honesty of the main hero Charlie. The narrator as if teaches the implied child reader through the quest-game what is true and what is simulacrum. The winner of the quest becomes Charlie and other participants fail the quest because of their uncontrolled behavior.
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Shadursky, Vladimir V. "Turgenev as Perceived by Mark Aldanov." Literary Fact, no. 17 (2020): 265–80. http://dx.doi.org/10.22455/2541-8297-2020-17-265-280.
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The paper examines various aspects of the perception of I.S. Turgenev’s personality and works by Mark Aldanov. The reception of Turgenev in Aldanov's work has been studied diachronically: from mentioning the characters of the novel “Rudin” in the journalistic book “Armageddon” to reviews of the émigré editions of Turgenev's works and criticism in the philosophical dialogues “Ulm Night”. The reasons for Aldanov’s irony towards some of Turgenev's works, called by him the “chocolate factory”, are investigated. Aldanov's position is largely due to the principles of the cultural-historical method. Aldanov explains Turgenev's artistic failures by mistakes in a constant search for an adequate form for expressing rich content. Aldanov tries to be an objective, well-reasoned critic, but he correlates the shortcomings of Turgenev's style with the advantages of L.N. Tolstoy’s style. At the same time, Aldanov is concerned of Turgenev’s “failures”, praising him as one of the five best authors of the “golden” age of Russian literature and an original European intellectual. Aldanov mentions Turgenev in his journalism, criticism, correspondence, uses Turgenev's motives and quotes in his own fiction. The paper describes the novels “The Story of Death”, “Delirium”, “Suicide”, in which Turgenev's biography, images of Turgenev's works are embedded in the life of Aldanov's fictional characters. The kindness and morality of Turgenev's characters, the delicacy of the writer’s discourse enter the moral world of Aldanov's characters. For almost 40 years Aldanov quoted Turgenev's works and letters and used the images of his novels and stories to express his own aesthetic assessment. A sense of his own place in literature gave Aldanov the right to express his opinion not only about the merits of Turgenev's work, but also about the shortcomings of his technique.
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Tanoukhi, Nirvana. "The Movement of Specificity." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 668–74. http://dx.doi.org/10.1632/pmla.2013.128.3.668.
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If you want to know about Africa, read our literature—and not just Things Fall Apart.—Chris AbaniChimamandaadichie summarizes the current dilemma of the peripheral writer in thetitle of her recent ted talk: “The danger of a Single Story.” The talk's masterly braiding of ethos, pathos, and humor epitomizes the winning formula of this distinctively metropolitan media genre. But Adichie's rhetorical ingenuity interests us not as a cultural spectacle—the scene of a young African writer's anointment by metropolitan brokers as an upcoming “world writer”—but for what it structurally illuminates about the kind of minoritarian literary consciousness that gave birth to the concept of world literature. The speech begins by taking the audience down a well-trodden path, the story of Adichie's beginnings as a young writer in Nigeria—specifically, the naïveté of her childhood compositions: “All my characters were white and blue-eyed, they played in the snow, they ate apples, and they talked a lot about the weather, how lovely it was that the sun had come out.” How deluded and childish it now seemed to Adichie, this business of putting cloudy skies and sumptuous apples in an African story. Luckily, African novelists like Chinua Achebe and Camara Laye already existed to dispel her original disorientation, so that she learned to replace the landscapes of British and American fiction with familiar settings where “people like me, girls with skin the color of chocolate, whose kinky hair could not form ponytails, could also exist in literature.”
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Ciobanu, Estella, and Carmen Martinaş Florescu. "Food Porn in Titus Andronicus, Chocolat and I Served the King of England (Obsluhoval jsem anglického krále)." East-West Cultural Passage 19, no. 2 (December 1, 2019): 96–120. http://dx.doi.org/10.2478/ewcp-2019-0014.
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Abstract This essay studies scenes that focus on food and eating in the films Chocolat (2000) and I Served the King of England (Obsluhoval jsem anglického krále, 2006). To assess whether or not they constitute food porn we compare and contrast such scenes with the description of an unwholesome recipe for cannibalistic eating in Titus Andronicus, which anticipates our contemporary food obsession. At its most basic (and controversial), food porn names the alluring visualisation of certain foodstuffs, which renders food the object of erotically tinged desire. Serving different purposes in the two films, such eroticisation of food can be more than self-referential insofar as it indicates human interactions framed as power relations. Showing chocolate making and eating, in Chocolat, actually visualises a woman’s exertion of power over the women and their husbands in a bigoted French village in 1959, intended to awaken the people’s benumbed desire. Not food proper is the object of desire in the Czech film, but the young woman served up as ocular side dish to the moguls dining in a stylish Prague restaurant before the outburst of WWII. By contrast, food eroticisation is completely absent in Shakespeare; at stake is a verbal (and implicitly visual) concern with the transformation of flesh and body parts into ingredients for seemingly festive consumption. Visualising food, in Titus, implicitly visualises the reclaim and exertion of power in the fictional Roman polity. In all these cases, the concern with food vectorises power relations and may fluidise gendered hierarchies, an issue which food porn scholarship rarely addresses.
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Aichner, Thomas. "Football clubs’ social media use and user engagement." Marketing Intelligence & Planning 37, no. 3 (May 7, 2019): 242–57. http://dx.doi.org/10.1108/mip-05-2018-0155.
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Purpose The purpose of this paper is threefold: to measure and compare the degree of social media use (SMU) by football clubs, to assess football fans’ engagement with content posted by football clubs (FCs) and to evaluate differences in user engagement with commercial social media advertisement targeting football fans, based on the advertisements’ appeal. Design/methodology/approach This paper employs three approaches. First, it uses the corporate social media use (CSMU) model to analyse 20,954 Facebook, YouTube, Instagram and Twitter postings from 78 European FCs. Second, it develops a categorisation for social media postings and uses ANOVA and Scheffè tests to conduct a pairwise comparison. Third, it uses a fictional hedonic low-involvement product (chocolate bar) to conduct an experiment by creating a Facebook advertising campaign with three advertisements that are manipulated regarding their general appeal. Findings Study 1 demonstrates that individual FCs show big differences between their degree of SMU. There are, however, no differences between European leagues, social media platforms, or more/less successful FCs. The results of Study 2 indicate that social media users like, comment and share postings by FCs independently of the content of the posting. Study 3 reveals that both user engagement and reach of advertisements can be substantially increased by employing football-related appeals. Originality/value This paper helps understanding consumer engagement in social media. The results presented are relevant and helpful for a multitude of actors, including FCs and other sports clubs, companies targeting football fans and researchers interested in social media and sports marketing.
Dissertations / Theses on the topic "Chocolate in fiction"
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Kay, Janet Catherine Mary. "Aspects of the Demeter/Persephone myth in modern fiction." Thesis, Link to online version, 2006. http://hdl.handle.net/10019.1/2409.
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Wu, Po-shing, and 吳柏興. "Application of Task-Based Instruction to Teaching Roald Dahl’s Fictional Depictions of Child-Adult Relationships to Grade-Ten Students in Taiwan: The Case with Roald Dahl’s George’s Marvelous Medicine and Charlie and the Chocolate Factory." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/01937725575506230274.
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碩士國立彰化師範大學
英語學系
99
Abstract This thesis provides a sample of combining Task-Based Instruction (TBI) and young adult novels (YA novels) and practices it in the tenth grade EFL classroom in Taiwan. With the idea of the best method pursuit, this thesis firstly reviews English pedagogy in recent years and further indicates the consideration of applying TBI. This thesis makes assumption that TBI can give the instructor the flexibility to manipulate the EFL classes by using authentic literary materials, YA novels; moreover the teaching goal is set to cultivate students’ communicative competence. To specify the practice, the reading materials are focused on Roald Dahl’s works: George’s marvelous medicine (1981) and Charlie and the Chocolate Factory (1964), by which the teacher explicates the theme, child-adult relationship, for discussion. When the teacher concerns the students’ psychological needs and language ability factor, he/ she copes with students’ personal growth by using the target task, and gives them the linguistic knowledge and practice the communicative skills by applying the pedagogical tasks. This TBI syllabus can support the novice-intermediate level students with a better chance to get close to authentic English readers, and a systematic way to realize the basic styles of English writing. Under the consideration of Whole Language and Communicative Language Teaching (CLT), the TBI syllabus can also involve the students’ real-world experiences with the protagonists’ events in the stories. Students then can have more opportunities to speak and listen to both the teacher and the group members for communicative purpose, to read meaningful and interesting assignments outside the classroom, and to write down their thoughts and expression by finishing the worksheets step by step. This thesis concerns more about the connection between reading and writing for the purpose of starting a writing class in EFL surroundings in Taiwan. Key words: TBI, CLT, thematic teaching, child-adult relationship, target task, pedagogical task, EFL, YA novels, reading/writing connection
Books on the topic "Chocolate in fiction"
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Murray, Annie. Chocolate girls. Long Preston, North Yorkshire: Magna Large Print Books, 2003.
Find full textBook chapters on the topic "Chocolate in fiction"
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Pottle, Jules. "Charlie and the Chocolate Factory." In Science Fiction, Science Fact! Ages 8–12, 73–109. Routledge, 2018. http://dx.doi.org/10.4324/9781315265810-4.
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Day, Geoffrey. "‘Romances, Chocolate, Novels, and the like Inflamers’." In From Fiction to the Novel, 111–55. Routledge, 2020. http://dx.doi.org/10.4324/9781003016809-4.
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Adams, Jade Broughton. "The ‘Chocolate Arabesques’ of Josephine Baker: Fitzgerald and Jazz Dance." In F. Scott Fitzgerald's Short Fiction, 58–84. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474424684.003.0003.
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This chapter shows how Fitzgerald often associates modern dance with the primitive. Fitzgerald’s engagement with African American culture is complex, and though the appropriation of African American culture for profit is punished in certain stories, Fitzgerald’s engagement with black culture is elsewhere more challenging. This chapter explores how performative identity (that is to say, the deliberate, theatrical presentation of inner traits) functions at the level of both form and content in the story ‘Babylon Revisited’, using the appearance of the dancer Josephine Baker’s ‘chocolate arabesques’ as a platform from which to explore how people perform identity. Fitzgerald prizes authenticity as the key attribute of any artist, dancer, or writer. In the story, Baker is berated for an inauthentic performance, merely delivering her routine without improvisation. This chapter argues that this sense of inauthentic artistry informed Fitzgerald’s self-conception as a popular short storyist. In Baker, Fitzgerald presents an artist who has bridged the ‘high’ and popular arts: ballet and cabaret. Fitzgerald sets up jazz dance as formulaic by satirising blind adherence to rules and fashions, and this chapter offers a reading of these rules as a metaphor for the short story conventions within which Fitzgerald toiled as a commercial short storyist.
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Bowring, Emma, and Milind Tambe. "Introducing Multiagent Systems to Undergraduates through Games and Chocolate." In Multi-Agent Systems for Education and Interactive Entertainment, 101–14. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-60960-080-8.ch006.
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The field of “intelligent agents and multi-agent systems” is maturing; no longer is it a special topic to be introduced to graduate students after years of training in computer science and many introductory courses in artificial intelligence. Instead, the time is ripe to introduce agents and multi-agents directly to undergraduate students, whether majoring in computer science or not. This chapter focuses on exactly this challenge, drawing on the co-authors’ experience of teaching several such undergraduate courses on agents and multi-agents, over the last three years at two different universities. The chapter outlines three key issues that must be addressed. The first issue is facilitating students’ intuitive understanding of fundamental concepts of multi-agent systems; the authors illustrate uses of science fiction materials and classroom games to not only provide students with the necessary intuitive understanding but with the excitement and motivation for studying multi-agent systems. The second is in selecting the right material — either science-fiction material or games — for providing students the necessary motivation and intuition; we outline several criteria that have been useful in selecting such material. The third issue is in educating students about the fundamental philosophical, ethical and social issues surrounding agents and multi-agent systems:they outline course materials and classroom activities that allow students to obtain this “big picture” futuristic vision of our science. The authors conclude with feedback received, lessons learned and impact on both the computer science students and non computer-science students.