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Relevant bibliographies by topics / Dead in fiction

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Academic literature on the topic 'Dead in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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Journal articles on the topic "Dead in fiction"

1

Chakravorty, Mrinalini. "The Dead That Haunt Anil's Ghost: Subaltern Difference and Postcolonial Melancholia." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 542–58. http://dx.doi.org/10.1632/pmla.2013.128.3.542.

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Anil's Ghost, Michael Ondaatje's haunting novel about the Sri Lankan civil war, probes paradoxes that arise in postcolonial fictional representations of transnational violence. What is conveyed by novels of war and genocide that cast the whole of a decolonial territory as a “deathworld”? The prism of death in Anil's Ghost requires readers of this text to relinquish settled notions of how we as humans understand our finitude and our entanglements with the deaths of others. Postcolonial fictions of violence conjoin historical circumstance with phantasmatic expressions to raise important questions about mourning, collective agency, and the subalternity of postcolonial societies. Advancing a theory about “postcolonial crypts” in fiction, I argue that postcolonial fictions' attention to violence transforms notions about the value of human life appraised through a dominant human rights framework.

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2

Hunt. "Names of the Dead • Fiction." Transition, no. 108 (2012): 89. http://dx.doi.org/10.2979/transition.108.89.

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3

Strout, Cushing. "Border Crossings: History, Fiction, and Dead Certainties." History and Theory 31, no. 2 (May 1992): 153. http://dx.doi.org/10.2307/2505594.

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4

Catherine Belling. "The Living Dead: Fiction, Horror, and Bioethics." Perspectives in Biology and Medicine 53, no. 3 (2010): 439–51. http://dx.doi.org/10.1353/pbm.0.0168.

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5

Anderson, Brianna. "Revolutionary paratext and critical pedagogy in Nathan Hale’s One Dead Spy." Studies in Comics 11, no. 1 (July 1, 2020): 127–46. http://dx.doi.org/10.1386/jem_00018_1.

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Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980–91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique pedagogical possibilities offered by historical fiction comics, which can use both their fictionality and the comics medium to teach young readers to critically engage with history in different and deeper ways than traditional history textbooks and single-narrator autobiographical comics. This article remedies this gap by analysing how Nathan Hale’s middle-grade historical fiction comic One Dead Spy enacts a critical pedagogy approach to teach children to challenge hegemonic historical discourses and ways of thinking. The comic centres on the Revolutionary spy Nathan Hale (no relation to the comics creator) as he attempts to delay his hanging by narrating the American Revolution to his executioners. Nathan’s purportedly true account hinders children’s critical engagement with history by perpetuating dominant historical discourses, providing readers with a whitewashed, male-centric narrative of the Revolution. By contrast, the backmatter complicates Nathan’s one-sided representation of history by featuring a mini-comic narrated by the former slave Crispus Attucks and by attributing the comic’s non-fiction bibliography to fictional Research Babies. This blending of academic citational practices with absurd metafiction, as well as the introduction of marginalized counter-narrators, teaches middle-grade readers to question the authority of history writers and destabilizes all historical narratives as artificial constructs. However, the paratext also reinforces racist and sexist paradigms by displacing black and female voices to the comic’s supplemental endpapers, underwriting the comic’s well-intentioned attempts to educate readers about important voices excluded from white-centric narratives. Thus, while One Dead Spy demonstrates how historical fiction comics can provoke much-needed discussions about the inherent biases and erasures of dominant historical discourses, it also reveals the dangers of relegating opportunities for children to learn about marginalized perspectives in history to the literal margins.

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6

Anderson, Brianna. "Revolutionary paratext and critical pedagogy in Nathan Hale’s One Dead Spy." Studies in Comics 11, no. 1 (July 1, 2020): 127–46. http://dx.doi.org/10.1386/stic_00018_1.

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Abstract:

Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980‐91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique pedagogical possibilities offered by historical fiction comics, which can use both their fictionality and the comics medium to teach young readers to critically engage with history in different and deeper ways than traditional history textbooks and single-narrator autobiographical comics. This article remedies this gap by analysing how Nathan Hale’s middle-grade historical fiction comic One Dead Spy enacts a critical pedagogy approach to teach children to challenge hegemonic historical discourses and ways of thinking. The comic centres on the Revolutionary spy Nathan Hale (no relation to the comics creator) as he attempts to delay his hanging by narrating the American Revolution to his executioners. Nathan’s purportedly true account hinders children’s critical engagement with history by perpetuating dominant historical discourses, providing readers with a whitewashed, male-centric narrative of the Revolution. By contrast, the backmatter complicates Nathan’s one-sided representation of history by featuring a mini-comic narrated by the former slave Crispus Attucks and by attributing the comic’s non-fiction bibliography to fictional Research Babies. This blending of academic citational practices with absurd metafiction, as well as the introduction of marginalized counter-narrators, teaches middle-grade readers to question the authority of history writers and destabilizes all historical narratives as artificial constructs. However, the paratext also reinforces racist and sexist paradigms by displacing black and female voices to the comic’s supplemental endpapers, underwriting the comic’s well-intentioned attempts to educate readers about important voices excluded from white-centric narratives. Thus, while One Dead Spy demonstrates how historical fiction comics can provoke much-needed discussions about the inherent biases and erasures of dominant historical discourses, it also reveals the dangers of relegating opportunities for children to learn about marginalized perspectives in history to the literal margins.

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7

Eads, Martha Greene. "Raising the Dead in Denise Giardina's Appalachian Fiction." Christianity & Literature 63, no. 1 (December 2013): 75–87. http://dx.doi.org/10.1177/014833311306300108.

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8

Barnes, Geraldine. "Authors, dead and alive, in Old Norse fiction." Parergon 8, no. 2 (1990): 5–22. http://dx.doi.org/10.1353/pgn.1990.0023.

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9

HUTCHINSON, DARREN. "I Bury the Dead: Poe, Heidegger, and Morbid Literature." PhaenEx 7, no. 1 (May 26, 2012): 195. http://dx.doi.org/10.22329/p.v7i1.3370.

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This essay investigates the way in which dying and dead bodies resist poetic incorporation and the way in which such bodies can be fugitively attested to through fictive prose. It examines Heidegger's treatment of dead and dying bodies from Being and Time to his later work on poetry and language, and it offers as a counterpoint another mode of addressing these bodies found in the fiction of Poe. It also shows how even the poetry of Trakl, heralded by Heidegger as an exemplar of poetic address, can be fruitfully understood in prosaic terms, terms which more faithfully reveal both the content of his poetry itself as well as the true nature of the wounds of dying life.

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10

Cantó-Milà, Natàlia, and Isaac Gonzàlez-Batlletbò. "Framing Bio-emergencies in Fiction: The Cases of ‘The Walking Dead’ and ‘Fear the Walking Dead’." Sociological Research Online 24, no. 1 (March 2019): 111–25. http://dx.doi.org/10.1177/1360780419827969.

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This article analyses the first seasons of two interconnected AMC series, ‘The Walking Dead’ and ‘Fear the Walking Dead’. Our analysis focuses on how these shows frame the emergence of a bio-risk, how the leading characters deal with the experience of bio-risks, and how they develop (or fail at developing) strategies to overcome, or, if this renders impossible, to tame such bio-risk. We have used a Grounded Theory approach to analyse the data, frame our analysis, and create a theoretical understanding of the ways these shows present bio-risks, and of the ways they depict the fictional experience of living a bio-emergency, without any official, institutional plan regarding to how to deal with it.

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Dissertations / Theses on the topic "Dead in fiction"

1

Hackett, Ann. "Play Dead." ScholarWorks@UNO, 2017. https://scholarworks.uno.edu/td/2407.

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2

Eckerd, John. "Collect Your Dead." Digital Commons @ Butler University, 2017. https://digitalcommons.butler.edu/grtheses/488.

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Since the bizarre disappearance of his wife, mountaineer Abbot Boone's life has spiraled into a pit of alcoholism and alienation. But then a wealthy and desperate widow hires Boone for an impossible task: to recover her husband's dead body from the peaks of Mount Everest. With nothing to lose and debts mounting, Boone enlists a team of exiles and misfits to attempt the climb. But if Boone is to conquer the mountain, he will first have to survive the pressure cooker of Everest Base Camp, brutal subzero temperatures, and ultimately confront the mystery of his own grief

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3

Weaver, Brett. "Calling Up the Dead." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2439/.

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Calling Up the Dead is a collection of seven short stories which all take place over the final hours of December 31, 1999 and the first few hours of January 1, 2000. The themes of time, history, and the reactions toward the new millennium (positive, negative, indifferent) of a variety of cultures are addressed. Each of the six major continents has a story, along with its cultural perspective, delivered by narrators both young and old, three female, three male and one balcony.

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4

DiFrancesco, Alessandro. "The Living and the Dead." Cleveland State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=csu1591353224820624.

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5

Ash, Romy Alice. "Dead drunk /." Connect to thesis, 2008. http://repository.unimelb.edu.au/10187/4008.

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6

Donnelly, Keith. "Three Days Dead: A Donald Youngblood Mystery." Digital Commons @ East Tennessee State University, 2009. http://amzn.com/0895873729.

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"When Tennessee private investigator Donald Youngblood solved the Fairchild case in Three Deuces Down, he vowed never again to go hunting for a missing person. With live-in-love and Mountain Center cop, Mary Sanders, and his faithful black Standard Poodle, Don's life has settled back into its old routine. All of that is about to change. An attractive, precocious teenage girl shows up in his office one morning needing help finding her missing mother. Now, Don must track down a mother gone wrong while trying to find her abandoned daughter a proper home before child welfare gets the scent. To complicate matters, an old flame is being harassed by a former boyfriend, who is not what he appears to be, and she is begging Don to do something about it. Tracking down the missing mother with the help of his best friend and partner and Don's ever-dangerous new friend, the trail of clues leads to a Las Vegas confrontation where Don comes face to face with henchmen of a Vegas bad boy, and nearly pays the ultimate price."--AMAZON
https://dc.etsu.edu/alumni_books/1002/thumbnail.jpg

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7

Busby, Robert. "The Dead Fish at Twenty Mile and Other Stories from Bodock, Mississippi." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/1870.

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THE DEAD FISH AT TWENTY MILE AND OTHER STORIES FROM BODOCK, MISSISSIPPI is set in a mythical town of nine-hundred-and-forty-eight Bodockians on the northwest corner of fictitious Claygardner County. Much like the canon of Faulkner's Yoknapatawpha works, the stories in this collection contribute to the myth of Bodock-from the fictional town's origins sometime in the 1830s, to the turn of the twenty-first century-while exploring such themes as mortality, regret, folklore, the New South at the end of the twentieth-century, and the relationship between man and nature. With the exception of the title story, the occasion for these stories is the ice storm which devastated much of the Mid-South in 1994. To accomplish this myth creation, the stories often employ folklore, magical realism, pathos and comedy, and storytelling, as influenced by Lewis Nordan's Welcome to the Arrow-Catcher Fair and Flannery O'Connor's A Good Man is Hard to Find.

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8

Green, Anna. "Dead man and an accompanying exegesis, Labyrinthine modes in Dead man and The Castle by Franz Kafka /." Connect to thesis, 2006. http://portal.ecu.edu.au/adt-public/adt-ECU2007.0042.html.

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9

Sutton, Mark Richard. "'All Livia's daughtersons' : death and the dead in the prose fiction of James Joyce." Thesis, Royal Holloway, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265874.

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10

Eubanks, David B. "Purely coincidental resemblance to persons living or dead worry and fiction in contemporary American life writing /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3192.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Dept. of English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Books on the topic "Dead in fiction"

1

Dear dead person: Short fiction. New York: High Risk Books, 1994.

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2

Crider, Bill. One dead dean. New York: Walker, 1988.

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3

Stine, R. L. Dear Diary, I'm Dead. New York: HarperCollins, 2001.

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Stine, R. L. Dear Diary, I'm dead. New York: Avon Books, 2000.

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5

Stine, R. L. Dear diary, I'm dead. London: Collins, 2001.

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6

Rosenberg, Saralee H. Dear neighbor, drop dead. New York: Avon A, 2008.

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7

Dead girls: Dead boys ; Dead things. New York: St. Martin's Griffin, 1998.

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8

Deal with the dead. New York: G.P. Putnam's Sons, 2001.

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9

Turnbull, Patrick. Dead for a dead thing. Bath: Firecrest, 1986.

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10

Washburn, L. J. Frankly my dear, I'm dead. New York: Kensington Books, 2008.

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Book chapters on the topic "Dead in fiction"

1

Elliott, Jane. "Dead-End Job." In Popular Feminist Fiction as American Allegory, 71–87. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230612808_4.

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2

Hopkins, Lisa. "Detecting the Dead." In Burial Plots in British Detective Fiction, 161–85. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65760-4_8.

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3

Owens, Cóilín. "John Huston’s The Dead (1987)." In Screening Modern Irish Fiction and Drama, 157–71. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40928-3_9.

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4

Tredell, Nicolas. "Country-House Carnage: Dead Babies (1975)." In The Fiction of Martin Amis, 23–33. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-137-19344-5_3.

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5

Miller, Meredith. "Coda: The Burial of ‘The Dead’." In Feminine Subjects in Masculine Fiction, 202–9. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137341044_8.

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6

McCarron, Kevin. "Dead Rite: Adolescent Horror Fiction and Death." In Representations of Childhood Death, 189–203. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62340-2_11.

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7

Hopkins, Lisa. "The Deep Dead: Detective Fiction and Archaeology." In Burial Plots in British Detective Fiction, 13–40. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65760-4_2.

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Willis, Chris. "Making the Dead Speak: Spiritualism and Detective Fiction." In The Art of Detective Fiction, 60–74. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62768-4_6.

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Bennett, Alice. "Dead Endings: Making Meaning from the Afterlife." In Afterlife and Narrative in Contemporary Fiction, 22–46. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137022691_2.

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Bennett, Alice. "Ghostwords: Mind- Reading and the Dead Narrator." In Afterlife and Narrative in Contemporary Fiction, 117–47. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137022691_6.

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Conference papers on the topic "Dead in fiction"

1

Vergoossen, Rob. "Towards 2222, science fiction or an educated guess for the design of bridges?" In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0215.

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<p>About 200 years ago the first railroad bridges were build, followed almost 100 years later by bridges for cars and trucks. Since the first cars and trucks, traffic has changed. Up to now this change is mostly an increase in intensity and axle and gross vehicle weight of trucks. But soon mobility will change.</p><p>When designing a bridge for a lifespan of 200 years there are a lot of uncertainties to deal with.</p><p>Will there be more vehicles due to easier transport, or will there be less because of a reducing population, virtual reality and robotics? There are a lot of construction activities going on in the world, but when will this change and what is the impact on mobility and transportation? The innovation in technology will change the use of the transport, which will make it more efficient, but is this also efficient for bridges? And what will be the effect of renewable energies and reducing CO2 on the usage of bridges? A lot of unknowns and only future will tell us what exactly will happen.</p><p>In this paper we give some scenarios on possible changes in the near and far future and how this can possibly influence the way we design our bridges today.</p>

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2

Rodríguez, José-Víctor, Enrique Castro-Rodríguez, Juan-Francisco Sánchez-Pérez, and José-Luis Serrano-Martínez. "UPCT-Bloopbusters: Teaching Science and Technology through Movie Scenes and related Experiments." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.7992.

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In order to change the preconceptions of youth towards science and technology subjects (which, usually, are perceived as difficult or boring), new educational methods aimed at motivating and engaging students in learning are becoming more and more necessary. In this sense, an educational project called ‘UPCT-Bloopbusters’ through which a group of professors of the Universidad Politécnica de Cartagena (UPCT), Spain, use science fiction movie scenes ─as well as experiments─ within the lecture room to teach both physics and engineering technology is hereby presented. The methodology of the project is properly described and the results of a survey carried out among the students of a course in which such methodology has been used are shown. In view of this survey, it can be concluded that the project has been more than welcome by the students while at the same time has favored the learning of a great deal of physics and technology concepts.

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