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Journal articles on the topic 'Dead in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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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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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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11

Smith, Russell. "Dead Enough to Bury." Samuel Beckett Today / Aujourd’hui 33, no. 1 (July 19, 2021): 30–44. http://dx.doi.org/10.1163/18757405-03301003.

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Abstract This essay examines the concepts of life and afterlife as they appear across Beckett’s trilogy, through focussing on representations of the act of burial, an act which draws attention to a caesura between biotic and abiotic conceptions of both life and afterlife. As the worlds of the trilogy become progressively less biotic, The Unnamable might be thought of as a laboratory in which the ‘lives’ of its characters are subjected to various biological experiments, experiments which suggest that narrative fiction, like the act of burial, is a kind of prophylactic against the fundamental processual nature of biotic life.

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12

Minogue, Sally, and Andrew Palmer. "Confronting the Abject:Women and Dead Babies in Modern English Fiction." Journal of Modern Literature 29, no. 3 (June 2006): 103–25. http://dx.doi.org/10.2979/jml.2006.29.3.103.

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13

Manià, Kirby. "“Translated from the dead”: The legibility of violence in Ivan Vladislavić’s101 Detectives." Journal of Commonwealth Literature 55, no. 1 (August 2, 2018): 61–76. http://dx.doi.org/10.1177/0021989418787334.

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In light of the contemporary popularity of crime fiction, true crime, and crime television, avid consumers of these kinds of narratives like to think of themselves as amateur detectives — schooled in the discourse of observation and deduction. Readers of crime fiction become accustomed to a kind of formula, comforted in the knowledge that the mystery will be resolved and the perpetrator apprehended. However, this article investigates how a number of stories in Ivan Vladislavić’s 101 Detectives challenge the conventions of legibility in representing crime in post-apartheid South Africa. The mediations of language, reading, and writing as modes of detection are shown in these short stories to come up short. Instead, and through the stylistic and formalistic frame provided by the anti-detective genre, acts of detection are defeated, closure is deferred, and order is not restored. Writing crime and violence reveals a matrix of structural violences in the postcolony, experiences that cannot be “translated from the dead”. The article argues that while violence and crime are not unrepresentable per se, the degree to which they can be “managed” or “contained” by language or fiction is limited.

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14

O'Neill, Mary. "Speaking to the dead: Images of the dead in contemporary art." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 15, no. 3 (May 2011): 299–312. http://dx.doi.org/10.1177/1363459310397978.

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In this article I explore works by three artists in which we can see images that relate to bereavement. In the work of the first two, Araya Rasdjarmrearnsook and Andres Serrano, we can see photographic images (still and moving) of human corpses, which have been criticized as morbid and unhealthy. However I argue that it is not in fact images of death or the dead that are problematic but those images which present or evoke evidence of the emotions associated with death, and create a situation where we imagine the circumstances of our own deaths or the death of those we love. Images of the dead are acceptable as long as they do not cause pain to the living, as in a video game fantasy or a fiction, or are seen as other and distant. In the second group of works, by Gustgav Metzger, The Absent Dead: The Surrogate Body, the body is not present either because the death has taken place at a distance, either in time or geographically, or both, and a new site must be created. In this section, I discuss Metzger’s auto-destructive art and argue that these works, through their ephemerality, embody a form of ‘meaning making’ and a possibility of the benefits of grief as described by Parkes.

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15

Crenshaw, Estée. "The Domestic Chicken as Legal Fiction." Humanimalia 9, no. 1 (September 22, 2017): 1–21. http://dx.doi.org/10.52537/humanimalia.9611.

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This paper explores the legal fictions surrounding the domestic chicken and its place in animal agriculture through a comparison of law and cultural narrative. The legal fictions examined are that of chickens as already dead, chickens as things, and chickens as a collective. Through examination of these fictions, a narrative of cruelty arises that questions the current treatment of domestic chickens in animal agriculture.

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16

Armstrong, John. "Gothic Matters of De-Composition: The Pastoral Dead in Contemporary American Fiction." Text Matters, no. 6 (November 23, 2016): 127–43. http://dx.doi.org/10.1515/texmat-2016-0008.

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In Alice Walker’s vignette “The Flowers,” a young black girl’s walk in the woods is interrupted when she treads “smack” into the skull of a lynched man. As her name predicates, Myop’s age and innocence obstruct her from seeing deeply into the full implications of the scene, while the more worldly reader is jarred and confronted with a whole history of racial violence and slavery. The skeleton, its teeth cracked and broken, is a temporal irruption, a Gothic “smack” that shatters the transience of the pastoral scene with the intrusion of a deeper past from which dead matter/material de-composes (disturbs, unsettles, undoes) the story’s present with the violent matter/issue of racism. Walker’s story is representative of an important trope in fiction, where the pastoral dead speak through the details of their remains, and the temporal fabric of text is disrupted by the very substance of death. Against the backdrops of Terry Gifford’s post-pastoral and Fred Botting’s Gothic understanding of the literary corpse as “negative[ly] sublime,” this essay explores the fictional dead as matter unfettered by genre, consistently signifying beyond their own inanimate silences, revealing suppressed and unpalatable themes of racial and sexual violence, child abuse and cannibalistic consumerism. Along with Walker’s story, this study considers these ideas through new readings of Stephen King’s novella The Body, Raymond Carver’s story “So Much Water So Close to Home,” and The Road by Cormac McCarthy. While these writers may form an unlikely grouping in terms of style, each uses pastoral remains as significant material, deploying the dead as Gothic entities that force the reader to confront America’s darkest social and historical matters.

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17

Henderson, Desiree. "The Imperfect Dead: Mourning Women in Eighteenth-Century Oratory and Fiction." Early American Literature 39, no. 3 (2004): 487–509. http://dx.doi.org/10.1353/eal.2005.0007.

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18

Kissinger, John. "Archaeology as “Wild Magic”: The Dead Sea Scrolls in Popular Fiction." Journal of American Culture 21, no. 3 (June 28, 2008): 75–81. http://dx.doi.org/10.1111/j.1542-734x.1998.00075.x.

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19

Minogue, Sally, and Andrew Palmer. "Confronting the Abject: Women and Dead Babies in Modern English Fiction." Journal of Modern Literature 29, no. 3 (2006): 103–25. http://dx.doi.org/10.1353/jml.2006.0032.

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20

Kontje, Todd, William Crisman, and Ludwig Tieck. "The Crises of "Language and Dead Signs" in Ludwig Tieck's Prose Fiction." German Quarterly 71, no. 1 (1998): 81. http://dx.doi.org/10.2307/407525.

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21

Zipes, Jack, and William Crisman. "The Crises of "Language and Dead Signs" in Ludwig Tieck's Prose Fiction." Studies in Romanticism 38, no. 1 (1999): 115. http://dx.doi.org/10.2307/25601378.

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22

Carpio, Glenda R. "“Am I Dead?”: Slapstick Antics and Dark Humor in Contemporary Immigrant Fiction." Critical Inquiry 43, no. 2 (January 2017): 341–60. http://dx.doi.org/10.1086/689667.

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23

Perez, Domino Renee. "Not Another Dead Indian: Young Adult Fiction, Survivance, and Sherman Alexie's Flight." Lion and the Unicorn 41, no. 3 (2017): 285–306. http://dx.doi.org/10.1353/uni.2017.0028.

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24

Reardon Lloyd, Joanne. "Talking to the Dead – the Voice of the Victim in Crime Fiction." New Writing 11, no. 1 (January 2, 2014): 100–108. http://dx.doi.org/10.1080/14790726.2013.871295.

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25

Raymen, Thomas. "Living in the end times through popular culture: An ultra-realist analysis of The Walking Dead as popular criminology." Crime, Media, Culture: An International Journal 14, no. 3 (July 26, 2017): 429–47. http://dx.doi.org/10.1177/1741659017721277.

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This article provides an ultra-realist analysis of AMC’s The Walking Dead as a form of ‘popular criminology’. It is argued here that dystopian fiction such as The Walking Dead offers an opportunity for a popular criminology to address what criminologists have described as our discipline’s aetiological crisis in theorizing harmful and violent subjectivities. The social relations, conditions and subjectivities displayed in dystopian fiction are in fact an exacerbation or extrapolation of our present norms, values and subjectivities, rather than a departure from them, and there are numerous real-world criminological parallels depicted within The Walking Dead’s postapocalyptic world. As such, the show possesses a hard kernel of Truth that is of significant utility in progressing criminological theories of violence and harmful subjectivity. The article therefore explores the ideological function of dystopian fiction as the fetishistic disavowal of the dark underbelly of liberal capitalism; and views the show as an example of the ultra-realist concepts of special liberty, the criminal undertaker and the pseudopacification process in action. In drawing on these cutting-edge criminological theories, it is argued that we can use criminological analyses of popular culture to provide incisive insights into the real-world relationship between violence and capitalism, and its proliferation of harmful subjectivities.

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26

COLLINS, KAREN. "Dead Channel Surfing: the commonalities between cyberpunk literature and industrial music." Popular Music 24, no. 2 (May 2005): 165–78. http://dx.doi.org/10.1017/s0261143005000401.

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This paper explores the similarities between industrial music and ‘cyberpunk’ science fiction literature. Besides the obvious instances where there are direct references to each other, there are further connections between music and literature that are explored here. Situating the two forms within the tradition of twentieth-century Western dystopias, the focus of the paper is on the similarity of themes (relationship to technology, control by a totalitarian elite, apocalyptic worlds, resistance groups), techniques (in language or structure), moods (the tones and attitudes), and imagery (through language or music) used to illustrate and enhance these themes.

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27

Lipinskaya, Anastasia A. "A PHANTOM COACH: FROM FOLKLORE TO FICTION." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 97–103. http://dx.doi.org/10.17072/2073-6681-2021-2-97-103.

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The image of a phantom coach is very common in British folklore and, like its predecessors – Four Horsemen of the Apocalypse and the Wild Hunt, it is closely associated with death and bad omens. Quite understandably, it was widely used in ghost stories written in the late 19th and early 20th centuries. There are stories close to the folk tradition of storytelling, but much more often the authors create their own versions where the legends about phantom coaches are contaminated with other sources (such as ballads about demonic lovers) and lose certain elements which are essential for archaic mentality but can be easily neglected in modern fiction, e. g. death as punishment for doing or seeing something forbidden, church service as something that can drive away ghosts and demons. According to the rules of the genre, a coach turns into a kind of liminal zone, a subspace where the laws of the rational world do not work, a time capsule where the logic of a folktale prevails. There are versions where a coach is a means of communication between the world of the living and the world of the dead or demonic creatures. In later texts a coach gives way to a car, with all the functions preserved; this change is not connected with fears caused by the relatively new means of transport, the old image is merely transformed according to certain changes in everyday reality. The ancient themes of revenge, punishment, meeting the dead are recreated here, but sometimes the symbolism changes, it becomes more closely connected to the idea of time and memory. The analysis of how the image of a phantom coach works in ghost stories can help to understand certain tendencies in the development of the genre (what happens to folkloric sources, narrative principles, the ideas of time and death etc.).

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28

Degani-Raz, Irit. "Cartesian Fingerprints in Beckett's Imagination Dead Imagine." Journal of Beckett Studies 21, no. 2 (September 2012): 223–43. http://dx.doi.org/10.3366/jobs.2012.0047.

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The idea that Beckett investigates in his works the limits of the media he uses has been widely discussed. In this article I examine the fiction Imagination Dead Imagine as a limiting case in Beckett's exploration of limits at large and the limits of the media he uses in particular. Imagination Dead Imagine is shown to be the self-reflexive act of an artist who imaginatively explores the limits of that ultimate medium – the artist's imagination itself. My central aim is to show that various types of structural homologies (at several levels of abstraction) can be discerned between this poetic exploration of the limits of imagination and Cartesian thought. The homologies indicated here transcend what might be termed as ‘Cartesian typical topics’ (such as the mind-body dualism, the cogito, rationalism versus empiricism, etc.). The most important homologies that are indicated here are those existing between the role of imagination in Descartes' thought - an issue that until only a few decades ago was quite neglected, even by Cartesian scholars - and Beckett's perception of imagination. I suggest the use of these homologies as a tool for tracing possible sources of inspiration for Beckett's Imagination Dead Imagine.

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29

Caddell, Jillian Spivey. "Melville's Epitaphs: On Time, Place, and War." New England Quarterly 87, no. 2 (June 2014): 292–318. http://dx.doi.org/10.1162/tneq_a_00370.

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In poetry and fiction, Herman Melville explored the epitaphic genre's capacity for destabilizing poetic voice and producing a temporality that is recursive but not necessarily recuperative. The epitaphs of Battle-Pieces (1866) invigorate the form while questioning its ability to memorialize the dead of the American Civil War.

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30

Mori, Naoya. "BECOMING STONE: A Leibnizian Reading of Beckett's Fiction." Samuel Beckett Today / Aujourd'hui 19, no. 1 (August 1, 2008): 201–10. http://dx.doi.org/10.1163/18757405-019001016.

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Samuel Beckett's works suggest that humans are dead like stones and stones are alive like creatures. The ambiguous border between humans and stones reflects Beckett's borderless grasp on life and death, which he envisions as the metamorphosis of human beings into a state of metaphysical stone that is indestructible and imbued with memories and feelings. Belacqua, Molloy, Malone, and the Unnamable share the vision of such a stone representing life in limbo. Focusing upon the image of stone in Beckett's works, this essay reads the trilogy in particular as an ontological transformation based on Leibnizian vitalism.

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31

Yuknavitch, Lidia. "Toward the Edge of the Hermetic: Notes on Raising Fiction from the Dead." symploke 12, no. 1 (2004): 69–76. http://dx.doi.org/10.1353/sym.2005.0047.

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32

Toles, George. "Animals Drunk and Sober, Famished and Dead in the Fiction of Jean Stafford." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 60, no. 4 (2004): 99–138. http://dx.doi.org/10.1353/arq.2004.0013.

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33

Pearlman, Adam R., and Erick S. Lee. "National Security, Narcissism, Voyeurism, and Kyllo." Texas A&M Law Review 2, no. 4 (January 2015): 719–89. http://dx.doi.org/10.37419/lr.v2.i4.6.

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This Article seeks to qualify somewhat the growing consensus that, at least as it was known in the twentieth century, “privacy is dead.” Although this sentiment seems empirically correct, this Article argues it is an oversimplification that fails to account for American values and legal policy. Rather, the Authors recognize as a morally neutral proposition that privacy is a legal fiction. At the same time, this Article advocates that it is a fiction best maintained and protected to the extent possible and reasonable given the unambiguous willingness of people en masse to sacrifice their privacy for mere convenience and token benefits.

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34

Arukask, Madis. "Resurrection, revenance, and exhumation: the problematics of the dead body in songs and laments." Scripta Instituti Donneriani Aboensis 23 (January 1, 2011): 28–54. http://dx.doi.org/10.30674/scripta.67379.

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Different types of folklore texts differ from each other by their function. We can distinguish between genres meant to be believed (like legend) and genres recognized in advance as fiction (fairy-tale). At the same time, textual fiction may also have served practical purposes—such as the telling of fairy-tales during the late autumn and early winter for purposes of fertility magic—as used to be the case in the Estonian folk tradition. There are folklore genres that have functioned, among other things, as an accompaniment, comment on, or support to rituals or practices being carried out—for instance, an incantation during a cure, or a lament in death-related procedures, when a person must be separated from his familiar environment. The same textual formulae fulfil different tasks in different genres, which means that they also carry a different meaning. The present paper considers some themes related to the bodily aspect of humanity in various genres of folklore, particularly in songs and laments, as well as in practices related to death and commemoration. As expected, the problems connected with the human body have in these genres undergone transformations of meaning, the understanding and interpretation of which may vary considerably. The material discussed in the article derives mainly from the Balto-Finnic and north Russian cultural area, partly from the author's own experience during his field trips.

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35

Kečan, Ana. "(CYBER) PUNK'S NOT DEAD – RICHARD MORGAN'S ALTERED CARBON." Knowledge International Journal 34, no. 6 (October 4, 2019): 1603–7. http://dx.doi.org/10.35120/kij34061603k.

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The term cyberpunk refers to an offspring or subgenre of science fiction which rose to popularity in the 1980s. It was first coined by Bruce Bethke in his story of the same name, published in 1983. Even though there are critics today who claim that cyberpunk is long dead, numerous examples from the 21st century show that it is still very well and alive, and this revival is particularly aided by television, as cyberpunk has a massive visual potential. Hence, the 21st century saw the sequel to the cult Blade Runner (originally released in 1982), titled Blade Runner 2049 (released in 2017), another (fourth) sequel of The Matrix (set to be released in 2020), TV adaptations of Philip K. Dick’s Electric Dreams (2017) and, the main interest of this essay, Richard Morgan’s Altered Carbon (season 1 in 2018 and season 2 set to be released in 2020). In this essay we are going to, first, outline the main narrative and stylistic conventions of cyberpunk, which include: a time and place in the future dominated by advanced achievements in information technology, science and computers (hence the term ‘cyber’) at the expense of a loss or breakdown of social order (hence the term ‘punk’) to the point of a dystopia (or post-utopia, as has been argued); virtual reality, data networks, illusion, bodily metamorphosis, media overload, intensity of visual components, bordering on what Norman Spinrad said was a fusion of the romantic impulse with science and technology. All of these encapsulate a core theme of the loss of distinction between real and artificial. In addition to this, the term cyberpunk requires clarification against several other terms which often appear alongside it and are related in one way or another, including science fiction, neo-noir, hard-boiled, post-cyberpunk, transhumanism, post-anthropocentrism, etc. Second, we are going to look at how those elements come together in the context of the first novel of Richard Morgan’s trilogy about Takeshi Kovacs, titled Altered Carbon, published in 2002 (the sequels, Broken Angels - 2003 and Woken Furies – 2005, have not yet been adapted for television and will, therefore, not be included in our analysis). We are going to, then, compare those elements with the Netflix version of the novel, a 10-episode TV series, released in 2018. The comparison of the visual versus the verbal narrative will show the differences in the presentation of cyberpunk elements and how (or whether) these differences are dictated by the medium or not. It will also show whether what started out as a dystopia in the original text has grown into a post-utopia in the television series, simply reflecting the current trend of nostalgia and nostalgic recycling.

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Lewis, Pericles. "The Burial of the Dead in Mann’s The Magic Mountain." Renascence 73, no. 1 (2021): 43–56. http://dx.doi.org/10.5840/renascence20217314.

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During the COVID-19 pandemic of 2020, readers of modernist literature have often been reminded of the flu epidemic of 1918-1920. Thomas Mann’s The Magic Mountain (1924) anatomizes pre-war bourgeois society as represented by the inmates of a tuberculosis asylum in Davos, Switzerland. The novel typifies a concern in modernist fiction with the proper rites for the burial of the dead, which I explored in an earlier study, Religious Experience and the Modernist Novel. This essay argues that that Mann sees the novel, as a genre, as having a particular ability to represent the process of mourning because of its powers of ironic distancing: it can represent both the public ritual of the funeral service and the private thoughts of the mourner, which may or may not accord with official sentiment. More generally, the modern novel shows how we project our own desires and fears onto the dead.

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Saxton, Laura. "ʻShe was dead meat’: Imagining the Execution of Anne Boleyn in History and Fiction." Parergon 37, no. 2 (2020): 103–24. http://dx.doi.org/10.1353/pgn.2020.0064.

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Muller, Nadine. "Dead Husbands and Deviant Women: Investigating the Detective Widow in Neo-Victorian Crime Fiction." Clues: A Journal of Detection 30, no. 1 (April 1, 2012): 99–109. http://dx.doi.org/10.3172/clu.30.1.99.

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Makarichev, F. V. "USING FILMS AT THE LESSONS OF ENGLISH TO EXPAND STUDENTS’ VOCABULARY (LIVING AND DEAD WORDS IN THE FILM “DEAD POETS SOCIETY”)." Bulletin of Udmurt University. Series History and Philology 31, no. 3 (July 13, 2021): 514–20. http://dx.doi.org/10.35634/2412-9534-2021-31-3-514-520.

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The article discusses the use of the authentic film at the lessons of English to expand the vocabulary of students. Working with the vocabulary of the feature film "Dead Poets Society" allows to see the possibilities of using each of the three functional styles - official, scientific and poetic styles. Lexical analysis of the speech of the main characters of the film - the official and scientific language of the director and teachers of the school and the poetic language of the teacher of literature Keating - helps to reveal the character of each personage. Particular attention is paid to Latinisms in the speech of teachers, as an element of the academic tradition in European culture, as well as the language of fiction prose and poetry, which is included in the film through quoting poems by romantic poets. Contrasting the dry, "dead" language of the director and his supporters and Keating's "living word" creates dramatic tension and helps to better understand the essence of the depicted conflict. As a consolidation of the studied vocabulary, written creative work is proposed, expanding not only the lexical reserve, but also the general cultural training of students.

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Crosthwait, George. "The Afterlife as Emotional Utopia in Coco." Animation 15, no. 2 (July 2020): 179–92. http://dx.doi.org/10.1177/1746847720937443.

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This article situates the Pixar computer animation Coco (dir. Lee Unkrich and Adrian Molina, 2017) within a recent selection of afterlife fictions and questions why such narratives might appeal to our contemporary moment. The author’s response is structured around the idea of utopia. In Coco, he identifies several conceptions of utopic space and ideals. The afterlife fiction places characters and viewers in a reflexive location which affords them the opportunity to examine their lives as lived (rather than in death). Transplanting Richard Dyer’s work on classic Hollywood musicals as entertainment utopia to a contemporary animated musical, the article proposes that such a film can be seen as adhering to a kind of ‘new cinematic sincerity’. Coco’s particular depiction of The Day of the Dead fiesta and the Land of the Dead has its roots in the Mexican writer Octavio Paz’s poetic and romantic treatise The Labyrinth of Solitude (1950). A comparison between these two texts suggests that willing encounters with death can be connected to an openness to transitional states of being. Through close readings of key musical sequences in Coco, the author demonstrates how the properties of the musical are combined with animation aesthetics (baby schemata, virtual camera) to lead viewers into their own utopian space of heightened emotions and transition.

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Bouckaert, Boudewijn. "Corporate Personality: Myth, Fiction or Reality?" Israel Law Review 25, no. 2 (1991): 156–86. http://dx.doi.org/10.1017/s0021223700010347.

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1. When touching upon the question of the nature of corporate personality most lawyers will at best make a link with some paragraphs from the introduction to their commercial law course. They will remember that during the nineteenth century fierce theoretical battles were fought on questions such as whether we should treat supra-individual and non-individual entities as “persons”, under what conditions we should recognize their personality and what should be the legal consequences of such recognition. But no matter how interesting this debate must have been, to revive it is tantamount to becoming a public menace. Already in 1953 H.L.A. Hart, certainly an authority on legal theory, declared that “the juristic controversy over the nature of corporate personality is dead”. In many respects this assessment is correct. Despite the numerous differences about the conditions of recognition, about the possible types of corporations and associations which are subject to corporate personality, about the solidity of the corporate veil, we can observe that nearly all legal systems in the world adopt the notion of corporate personality as such. We may assume the notion will become even more important in the former socialist world, as these countries try hard to reshape their economies along the lines of the market economies in the Western world.

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Wiegand, Hermann. "The Commemoration of the Dead and Epic Composition (Totengedenken und epische Gestaltung)." Daphnis 46, no. 1-2 (March 15, 2018): 241–63. http://dx.doi.org/10.1163/18796583-04601017.

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This paper discusses the image and reception of the Thirty Years Warʼs Catholic military leader Johann T’Serclaes von Tilly in Jesuit Neo-Latin epical poetry of the 17th century, starting with Magni Tillij Parentalia written by Jacobus Balde, a prosimetrical work that came into being immediatly after the ‘heroʼs’ death but was posthumously published in 1678, using epical patterns such as picture descriptions or similia not only in metrical parts of the work, but also in prose fiction. The text shows Tilly as a pillar of the Holy Roman Empire and Catholic faith as well. Affiliated are shorter reflections of further Jesuit Neo-Latin poems such as Bellicum Tillij (1634) by Jacobus Bidermann, Johannes Bisseliusʼ Icaria (1637), and Jacobus Damianus’ Bellum Germanicum (1648).

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Stabro, Stanisław. "Motory Emila Zegadłowicza czytane po latach." Ruch Literacki 55, no. 1 (January 1, 2014): 67–82. http://dx.doi.org/10.2478/ruch-2014-0006.

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Abstract Emil Zegadłowicz’s Motors, which was published in 1937, has to read in the context of the writer’s artistic and ideological evolution, marked by his novel cycle, The Life of his Mikołaj Srebrempisany (1927-1935), in particular Mares (1935), as well as the later The Dead Sea (1939). Close attention should also be paid to the autobiographical aspects of all his fictions. The same is true of Motors, the origin of which is deeply rooted in the writer’s biography. How should we read and interpret the novel today? Should we treat it as erotic fiction? Or focus primarily on the main character’s three types of utopian thinking, the utopia of sex, art and left-wing political activism? It seems that the latter approach may well restore to us and reveal a fresh relevance of a book often regarded as a product of a long gone epoch

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Franks, Rachel. "‘There’s a dead body in my library’: crime fiction texts and the history of libraries." Australian Library Journal 64, no. 4 (October 2, 2015): 288–300. http://dx.doi.org/10.1080/00049670.2015.1087299.

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Lefebvre, Benjamin. "From Bad Boy to Dead Boy: Homophobia, Adolescent Problem Fiction, and Male Bodies that Matter." Children's Literature Association Quarterly 30, no. 3 (2005): 288–313. http://dx.doi.org/10.1353/chq.2006.0008.

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Smith-Walter, Aaron, and Fatima Sparger Sharif. "is government (un)dead?: What apocalyptic fiction tells us about our view of public administration." International Journal of Organization Theory & Behavior 17, no. 3 (March 1, 2017): 336–66. http://dx.doi.org/10.1108/ijotb-17-03-2014-b004.

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The zombie-plague apocalypse is a powerful social imaginary that focuses attention on the border between legitimate citizens and zombie “others.” The surge in the number of zombie apocalypse films provides an illuminating area for studying the role imagined for public administration by popular culture. The response to zombies in apocalyptic films brings to fore new realities with the re-conceptualization of the legitimacy and authority of government. This re-conceptualization provides content for analyzing the portrayal of existing governmental institutions overwhelmed by the apocalypse, including local governments, the military, public health agencies, emergency services, and public utilities,

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Searle, Adam. "Anabiosis and the Liminal Geographies of De/extinction." Environmental Humanities 12, no. 1 (May 1, 2020): 321–45. http://dx.doi.org/10.1215/22011919-8142385.

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Abstract The spectacle of de-extinction is often forward facing at the interface of science fiction and speculative fact, haunted by extinction’s pasts. Missing from this discourse, however, is a robust theorization of de-extinction in the present. This article presents recent developments in the emergent fields of resurrection biology and liminality to conceptualize the anabiotic (not living nor dead) state of de/extinction. Through two stories, this article explores the epistemological perturbation caused by the suspended animation of genetic material. Contrasting the genomic stories of the bucardo, a now extinct subspecies of Iberian ibex whose genome was preserved before the turn of the millennium, and the woolly mammoth, whose genome is still a work in progress, the author poses questions concerning the existential authenticity of this genomic anabiosis. They serve as archetypal illustrations of salvaged and synthesized anabiotic creatures. De/extinction is presented as a liminal state of being, both living and dead, both fact and fiction, a realm that we have growing access to through the proliferation of synthetic biology and cryopreservation. The article concludes through a presentation of anabiotic geographies, postulating on the changing biocultural significances we attach to organisms both extinct and extant, and considering their implications for the contemporary extinction crisis.

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Koval, Marta. "Patterns of Memory in Askold Melnyczuk’s Novels as an Example of Ukrainian-American Émigré Fiction." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 125–37. http://dx.doi.org/10.36770/bp.473.

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Although Ukrainian emigration to North America is not a new phenomenon, the dilemmas of memory and amnesia remain crucial in Ukrainian-American émigré fiction. The paper focuses on selected novels by Askold Melnyczuk (What is Told and Ambassador of the Dead) and analyzes how traumatic memories and family stories of the past shape the American lives of Ukrainian emigrants. The discussion of the selected Ukrainian-American émigré novels focuses on the dilemmas of remembering and forgetting in the construction of both Ukrainian and American narratives of the past. The voluntary amnesia of the Ame- rican-born Ukrainians in Melnyczuk’s novels confronts their parents’ dependence on the past and their inability to abandon it emotionally. Memories of ‘the old country’ make them, similarly to Ada Kruk, ambassadors of the dead. The expression becomes a metaphoric definition of those wrapped by their repressed, fragmentary and sometimes inaccessible memories. Crucial events of European history of the 20th century are inscribed and personalized in the older generation’s stories which their children are reluctant to hear. For them, their parents’ memories became a burden and a shame. Using the concept of transgenerational memory, the paper explores the challenges of postmemory, and eventually its failure.

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Knight, Graham, and Jennifer Smith. "High-Tech Feudalism: Warrior Culture and Science Fiction TV." Florilegium 15, no. 1 (January 1998): 267–82. http://dx.doi.org/10.3138/flor.15.014.

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"Richard III with aliens" is how Cornell (102) describes "Sins of the Father," an episode of Star Trek: The Next Generation (hereafter TNG) in which the Klingon warrior Worf, son of Mogh, seeks to restore his family's honour by exposing and challenging those responsible for falsely accusing his dead father of treason to the Klingon Empire. Worf is only pardy successful in his quest, and he remains a perpetually marginal figure whose identity is divided by his Klingon heritage, his childhood as a Klingon orphan raised by humans, and his current status as the only Klingon in Starfleet, the military arm of the Federation of Planets, an alliance of Earth and other worlds whose relationship with the Klingon Empire is marked by tension, suspicion and, at times, open hostility. As a result of these divisions and struggles, Worf's family is eventually stripped of its wealth and rank on the Klingon home-world, and Worf's brother Kurn seeks a ritual death as the only way to absolve his own and his family's disgrace.

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Holland, Mary. "From Modernist Entombment to Postmodernist Exhumation: Dead Bodies in Twentieth-Century American Fiction (review)." MFS Modern Fiction Studies 57, no. 4 (2011): 776–79. http://dx.doi.org/10.1353/mfs.2011.0090.

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