Journal articles on the topic 'Definition of fantasy'

The article deals with the problem of definition and classification of literary works marked as fantasy. Being quite a modern genre, fantasy, on the one hand, has become quite a popular literature among groups of people of different ages and occupations that leads to the rising attention of theorists of literature and literary critics. But, on the other hand, this literary genre is still not studied and described well enough. Therefore, literary studies do not have conventional definition or classification of the genre. Examining famous fantasy works by J. Tolkien (“The Lord of the Rings”), J. Martin (“The Song of Ice and Flame”) and M. and S. Dyachenko (“Wanderers”), we managed to accentuate typical featured of the genre and define it. Comparing Western European and Slavonic fantasy, we came to a conclusion that this genre combines such necessary features as mythological basis, adventure intrigue, the division of the heroes into possessing superpowers and not possessing such ones, the presence of magical artefacts, opposition to the evil on a global scale. Speaking about classification of the genre we can point out two subgroups such as leaning towards the mythological basis and folklore and leaning towards the historical basis.

Researchers employ science fiction and fantasy in public engagement, advocacy, and education as significant sources of insights to identify public interests, inspire public policy, and influence future science. These uses of science fiction as a source that is expected to reflect public interests are undermined if the examples employed by researchers are interpreted differently by the intended audience or beneficiaries of research. We surveyed the public to identify their definitions and discovered a categorization based on clearly defined features. These align with some academic theories but differ from postmodern approaches as the analysis suggests science fiction can be defined categorically. The empirical survey data are consistent and demonstrate an unmistakable distinction between popular definitions of science fiction and fantasy. Our theoretical analysis implies some definitions may be confused by evaluating secondary “fuzzy” characteristics as if they were fundamental features of the genre. We suggest Wittgenstein’s family resemblances, between subjects associated with the genre at any specific time, should be interpreted as an ephemeral grouping validated by correlation with enduring core features, rather than definitive. On the basis of the common themes identified from the survey responses and a critique of existing genre models, we suggest the classical concept of techne may best describe the empirical essence of science fiction. Researchers intending to employ science fiction for applications that have an influence in the public realm may wish to consider this when designing their research.

Not so long ago the definition of religion as "a reflection of reality in illusory-fantasy images, ideas, concepts" was perceived as one of the most important arguments of scientific atheism in its anti-religious struggle in the national religious studies. The closeness to the notion of "fantasy" and "fanaticism" (though completely incompatible with semantics) made this argument seem irresistible in the fight against religion, as any believer could fall under the murderous characterization of the category of "religious bigotry" it is in some way irreparably backward in comparison to a person with a developed scientific worldview.

The paper is focused on stylistic features of English fantasy texts. The research materials include four fantasy novels written by British and American authors of the late 20th century: Jordan’s The Eye of the World, Martin’s A Game of Thrones, Rowling’s Harry Potter and the Philosopher’s Stone, and Harry Potter and the Chamber of Secrets. The research question of the study lies in need to systematize expressive means and stylistic devices used in the texts and distinguish the common stylistic features of English fantasy texts. To do this, the researchers implement the notion of a stylistic portrait of English fantasy text, and the main aim of the paper is to provide its definition and description. The study employed the complex of linguistic research methods, including analysis and generalization of theoretical sources, contextual analysis and the elements of quantitative analysis of linguistic units used in the texts. Based on three essential aspects of a stylistic portrait, the paper shows that the English fantasy texts are characterized by the dominance of expressive means and stylistic devices at the syntactic level of language. In addition, the researchers identified the most productive stylistically marked linguistic units at each level of language correlated with the semantic field within which they functioned, and studied connotative dominants in these texts.

This paper is a close reading of Raja Alem’s 2005 novel, Fatma: A Novel of Arabia. I argue that Alem depicts the erotic in ways similar to Audre Lorde’s definition – as a doorway to self-fulfillment and in honor of the “fullness” of the erotic’s depth of feelings. The Saudi Arabian writer employs the fantastic, which has been used by writers to express feminist politics, to give textual embodiment to the relationship between the erotic, self-actualization, and women’s empowerment, central to which is self-knowledge and self-discovery. Alem suggests that a deeper knowledge of the self can open women to unlimited possibilities of being and perception, including a closer relationship to the natural and the supernatural worlds. Alem thus presents a female mythology that creates an alternate reality and undermines the binaries of patriarchal thinking, such as the corporeal/transcendent, the human/nonhuman, man/woman, and nature/culture.

This review assesses Justyna Deszcz-Tryhubczak’s Yes to Solidarity, No to Oppression: Radical Fantasy Fiction and Its Young Readers. Deszcz-Tryhubczak has two agendas in this volume: first, to explore the capacity of Radical Fantasy fiction to model for young readers the agency of youth forming collaborative, cross-generational, and possibly cross-cultural alliances to address glocal socio-political and/or environmental issues spawned by the injustices and inequities of late-stage capitalism; second, to model a new approach to participatory research, involving child readers not as subjects of study but as collaborative readers of texts. Deszcz-Tryhubczak provides a thorough examination of the problem of adult critics speculating about child readers based on constructed implied child readers rather than on actual children, then proceeds to identify how Childhood Studies may offer some productive means of thinking about and, more important, engaging with real children. She provides a clear definition of Radical Fantasy and brief readings of both core and marginal ex­amples of the genre. This contextualizes her description of her methodology and discussion of results from two research projects collaborating with young readers. Finally, Deszcz-Tryhubczak contends that participatory research is a way to move forward in children’s literature scholarship in a more democratic manner, and moreover that applying this methodology to Radical Fantasy is potentially also a means of engaging children in important debates on issues that are shaping their futures. I find this book a stimulating contribution to our understanding of youth reading that offers intriguing possibilities for further research.

This article applies symbolic convergence theory (SCT) to the type of symbolism used by Hezbollah, a Shia terrorist organization. By and large, SCT posits that sharing group fantasies contributes to symbolic convergence. The success of symbolic convergence hinges on three important concepts: symbolic cue, fantasy type and saga. An example of a symbolic cue is Hezbollah’s yellow-and-green logo that symbolizes global militancy against infidels. In regards to the organization’s fantasy types, eight of them were identified (e.g. Al-Quds Day, definition of enemies and individual self-sacrifice). Apropos of Hezbollah’s sagas, two figureheads, Ruhollah Khomeini (the Grand Ayatollah in Iran) and Hassan Nasrallah (the current Hezbollah leader), have become idols of worship by hundreds of thousands of Hezbollah members and millions of Shia Muslims. An important conclusion is that events can be more important for their symbolism than their very happening or existence. Hence, through symbolism, Hezbollah can strike a chord within its followers so as to produce significant change in the world.

A model is suggested here which describes the theoretical relationships between different cognitive processes. It is hoped that this model will contribute towards a tightening of the scientific conceptual network, mainly on the “soft” side of cognitive processes theorization. Concepts which are hitherto loosely used will gain clearer, distinctive definition; this applies to concepts like imagery, imagination, fantasy, daydreaming, dreaming, divergent thinking, creativity, etc. In this same model the relationships between these concepts and concepts such as learning, problem solving, information processing, thinking, semantic organization, etc., as well as the relationships among the latter concepts to each other, will also become explicit.

The attitude towards rhetoric, metaphor, and imagery is identified in this paper as being central both to the definition of postmodernism and to any postmodern scholarship. It is also claimed that questions about the relationship between archetypal psychology and geography mirrors the wider postmodern phenomenon of comparative knowledges. By focusing on radical criticism of contemporary heritage movements it is shown how archetypal psychology can help to deepen metaphorical reflection on such crucial issues as fantasy, theory, history, and memory. In particular, it is insisted that such reflections should themselves avoid philosophical abstraction and stay as close as possible to the logic of imaginative discourse.

In 2015, Vremya Publishing House issued A Flute Solo, a book by V. Shenderovich, a multigenre and, according to the author of the article, intermedial work, since the peculiarities of the content of a political satire and a tragedy, a farce and a fantasy on the one hand and some features of musical pieces, a fugue in particular, on the other hand, have merged there. The author provides a detailed characterization of the plot, constructed as a grotesque depiction of the reality, the composition as relating a verbal text to a piece of music, and the symbolic value of certain elements, allowing not to agree to the definition of the book as being “desperately hopeless”.

No matter from which perspective Witelo, Oresme and Gerson approach mental disorders, they think that madness usually has a bodily, such as a humoral or organic, origin. They do, however, consider divine or demonic causes as possibly being behind immediate causes. According to Witelo and the Parisians, because of a change in the body, madmen’s sensory fantasy is disturbed and in this situation their intellect does not act normally, and their will lacks freedom. It is important to realize that, according to the medieval writers, mentally-disordered people have not lost any parts of their soul or their basic potencies. If this were the case, they would not be human beings by definition.

This article explores the way in which surrealist techniques and assumptions underpin spatial representations in Ballard’s Concrete Island. With much of Ballard’s fiction using spatiality as an ideologically charged instrument to articulate a critique that underpins postcapitalist culture, it seems important to focus on exactly the kind of spaces that he creates. This paper will investigate the means by which spatiality is conceptualized in Ballard’s fiction, with special emphasis on places situated on the borders between realism and fantasy. Ballard’s spaces, often positioned on the edgelands of cities or centers of civilization, can be aligned with the surrealist project as presented not only by the Situationalist International, but of psychogeographical discourse in general. What the various Ballardian spaces—motorways, airports, high-rises, deserts, shopping malls, suburbs—have in common is a sense of existing outside stable definitions or what, following Marc Augé, we would call non-places, which by their definition are disconnected from a globalized image society, thus generating a revolutionary idea of freedom. As these places exist outside the cognitive map we impose on our environment, they present a potentially liberating force that resonates in Ballard’s fiction.

Abstract Some American science fiction and fantasy (SF&F) female fans participate in Cosplay or costume play, the global practice of dressing in costume and performing fictional characters from popular culture. Cosplay is typically only socially sanctioned at conventions and other fan events, leaving fans searching for new ways to express their fandom in everyday life. Closet cosplay is one solution in which everyday clothing and accessories can be worn to express fandom. The motivations for wearing everyday fan fashion have been only briefly mentioned by other authors or studied within limited social contexts. Therefore, the purpose of this research was to explore SF&F female fans' participation in closet cosplay as it is worn in everyday contexts. An exploratory qualitative study was conducted using a social interactionist perspective, and Sarah Thornton's concept of subcultural capital and Pierre Bourdieu's theory of cultural capital. Semi-structured, online interviews were conducted with sixteen participants who wore closet cosplay related to SF&F films and/or television series, which included Star Wars, Marvel Comics, DC Comics, Disney films, Harry Potter and anime fandoms like Sailor Moon (1995‐2000). The interview data were analysed using NVivo qualitative analysis software and the constant comparison method. Two themes emerged from the data: the definition of closet cosplay and motivations for wearing closet cosplay. Through examining these themes, it was evident that female SF&F fans used closet cosplay to express a salient fan identity, which enabled them to simultaneously gain subcultural capital and feminized cultural capital.

In the West it is commonplace to regard sport as either an extracurricular form of leisure, or else as a business enterprise. Games and contests of all kinds are a form of distraction; and for some a very lucrative form at that (Smith 1978). Almost by definition sports direct our attention away from ‘real life’ to some form of fantasy world where there is high drama but little by way of the material or ideological substance of productive, pragmatic and ‘rational’ labor (cf. Rojek 1985; Simon 1985). Hand in hand with such a notion of marginal utility goes a folk attitude that sport is meaningless by virtue of its being purely and simply fun, as though pleasure and purpose are somehow antithetical.

AbstractThe present paper describes a reader-response experiment focusing on the perception of the genre of the fantastic. It also proposes an update of the genre’s structuralist definition to better conform to contemporary cognitive research. Participants answered questions relating to the interpretation of events and important symbols in a Neil Gaiman short story and were also asked if they considered the story “fantasy” or “realistic fiction.” Tzvetan Todorov characterized the fantastic as a hesitation between the uncanny (realistic interpretation) and the marvelous (supernatural interpretation). Neil Gaiman, a popular contemporary author of genre fiction, has utilized this hesitation between psychological and supernatural explanations of his stories to great effect. The results show a consistently higher degree of enjoyment in readers who were aware of the dual interpretation and partook in the hesitation. This paper also introduces the concept of quantum cognition into literary theory and explains the benefit of using terminology from this discipline in a reader-response context. The findings of this study could be the first step towards a better understanding of the different ways in which readers cognitively approach the fantastic or genre in general.

Autism is a situation where an engrossed in his own world. This situation is usually encountered for the first time in childhood and entering the mind as well as his own fantasy world and will be even worse in the case of heavy-patient retrospective case series will be immersed in his own hallucinations. This study used a qualitative research design with ethnography approach, by using in-depth interviews and direct observation to acquire the knowledge, attitudes, action and family support in the healing process of children with autism. The results showed that knowledge of family to care of children with autism are already well able to explain the definition, symptoms and resources about autism attitudes towards the care of children with autism are relatively good, although a good attitude is not always accompanied by good results. Actions in carrying families parenting children with autism in the healing process has been good with the hope that his son will be cured of autism. Parenting applied is authoritarian parenting and family support is the closest to people with autism who gave a major influence on the recovery efforts of an autistic child. Who always support in any process of therapy in autism service center or at home.

Okri’s fiction is a mix of fantasy, realism and oral tradition of Africa. Though the trilogy nearly covers some fourteen hundred odd pages, it doesn’t have a proper beginning or end. Okri’s view of an unnamedAfrican ghetto, which is going to get independence, is presented in these novels. He is not giving solutions to the existing problems , he is simply presenting the true nature of an African state in an elusive manner. He narrates The Famished Road through the experiences of an ‘abiku’, Azaro, a seven year old child. He uses Azaro to narrate the chaotic state of affairs in an African state , and educates Azaro with the rich African culture in the form of stories told by his mother and father, and shows the real state of Africa in the form of photographs taken by the photographer, Jeremiah. Okri’s fiction has many layers of meaning which makes the task of analysis difficult. Though several labels like magical realism, Post-colonial, post-modern text are given the trilogy defies any particular definition. After examining his Trilogy thoroughly, it seems that Okri though elusive in his writings apparently wants a new – world. The Trilogy moves in the direction of anticipating a world fine tuned to harmonious living.

IntroductionWe explore relationship-seeking behaviour of zoophiles (zoos), using Francoeur's (1991) definition of sexual orientation (as consisting of affection orientation, sexual fantasy orientation, and erotic orientation).ObjectivesThis study intends to be the largest in recent decades’ comprehensive analysis of self-identified zoophiles, living on all five continents. It describes similarities and differences between normative sexual orientations (hetero- and homo-) and zoophilic sexuality, using Francoeur's (1991) framework.MethodA qualitative observational study of user activity (n = 958) on discussion forums, combined with brief demographic survey. Data were analyzed according to principles of grounded theory. Next, surveys of own design (demographic, discreet + open ended questions) were received by n = 350 participants. Presented data show aggregate conclusions from mixed methods qualitative and quantitative analysis.ResultsTrend analysis yielded four main discussions among zoophiles – worldview, personal space, sex life, and online space. Within worldview category, zoos overwhelmingly discuss bad press (55%), as well as social (41%) and legal (22%) ostracism. In personal space, the primary concern is coming at easy with own sexuality (>60%) and forming lasting relationship with either human, animal, or both partners simultaneously. In terms of sex life, zoos are concerned with improving sex play (>40%) and figuring out legality of sexual encounters with animals (22%). Concerning online space, the biggest concern here is networking (40%) and meeting other zoos for dating (15%).ConclusionsModern zoophiles have a wide array of personal, social, legal, and sex life challenges that can be approximated using qualitative studies.Disclosure of interestThe authors have not supplied their declaration of competing interest.

Jau Husserlio svarstymuose apie fantaziją randame punktyriškų nuorodų į svarbų jos veikimo aspektą – sąmonę, kuri, sužadinta galimybių regėjimo, atveria nederminuotų pasaulių perspektyvą. Šį klausimą praplečia ir visa jėga išplėtoja Sartre’as. Vaizduotė yra sąmonės laisvė – tai iš esmės pagrindinė veikalo „Imaginaire“ mintis. Tačiau šioje laisvėje slypi pamatinis ir neišskaidomas dvilypumas, gal net trilypumas. Kaip sako Sartre’as, „įsivaizdavimo aktas yra vienu ypu konstituojantis, izoliuojantis ir įniekinantis“. O tai reiškia, kad vaizduotiškai nihilistinė struktūra visose sąmonės fazėse identifikuojama kaip esminė žmogaus ir pasaulio santykio apibrėžtis. Pozicionuoti pasaulį kaip pasaulį ar jį „įniekinti“ (néantir) yra tas pats dalykas. Knygoje „L’être et le néant“ aprašoma sąmonė Niekį aptinka savo žvilgsnyje, kuris steigia akiračius ir apgaubia daiktus aureolėmis. Sartre’as sako: „mes matome, kaip niekis vaivorykštės spalvomis nuspalvina pasaulį, žaižaruoja ant daiktų“. Tai reiškia, kad Niekis užklumpa pasaulį kartu su šiuo matymu. Nihilistinės ligos pasirodymo metastazes, kurias priskiriame pasauliui, turime suvokti ne kaip daiktų savybes, bet vien tik kaip mūsų pačių santykį su daiktais, kaip tam tikrą intencionalumo, veikiančio pagal koordinacinę įsivaizdavimo logiką, išraišką.Pagrindiniai žodžiai: fenomenologija, vaizduotė, laisvė, nihilizmas, niekis.Sartre’s Magic Wand. Phenomenology and Nihilistic Freedom of ImaginationKristupas Sabolius SummaryIn Husserl’s writings on fantasy, one could already find references to an important aspect of its function, the one of the consciousness which, stimulated by the vision of its possibilities, opens the perspective of undetermined worlds. The latter topic is widely developed by Sartre. Imagination is the freedom of consciousness, this is the main idea of his Imaginaire. However, this freedom conceals a fundamental duplicity or even triplicity. As Sartre puts it, “the act of imagination is at the same time constituting, isolating and nihilating”. Consequently, the nihilistic and imaginary structure is identified in all the phases of consciousness as the essential definition of the relationship of human being to the world. To pose the world as the world or to nihilate (néantir) it is the same thing. In the description of L’être et le Néant, consciousness finds Nothingness in its own sight which constitutes horizons and covers things with halos. It means that Nothingness enters the world together with the sight and is supposed to be considered as an intentionality functioning according to the coordinating logics of imagination.Keywords: phenomenology, imagination, freedom, nihilism, Nothingness.

Fantasy, Horror, Panaesthetics and Antiaesthetics in the Views by Howard Phillips Lovecraft and His Works The article aims at an insight into the issues of fantasy, horror, panaesthetics and antiaesthetics in the views and works by the early twentieth century American writer, Howard Phillips Lovecraft. Referring to some definitions formulated by various theoreticians, the author of this article firstly explains some basic terms such as: fantasy and horror. Afterwards, he takes a close look into the concepts of panaesthetics and antiaesthetics as well as some other related notions. The essay focuses both on presenting the profile of H.P. Lovecraft and his ideas in the fields of philosophy, arts and literature. Moreover, it intends to outline some advices he made on writing weird stories and building the atmosphere of fear. The author of the article attempts also to characterize H.P. Lovecraft’s literarily work in order to juxtapose the writer’s views and writing with the ideas behind the concepts of panaesthetics and antiaesthetics. Finally, the author tries to answer the question whether H.P. Lovecraft is to be seen more as a representative of a panaesthetic or rather antiaesthetic viewpoint.

What is a genre? What distinguishes a genre like science fiction from other genres? We convert texts to data and answer these questions by demonstrating a new method of quantitative literary analysis. We state and test directional hypotheses about contents of texts across the science fiction, mystery, and fantasy genres using psychometrically validated word categories from the Linguistic Inquiry and Word Count. We also recruit the work of traditional genre theorists in order to test humanists’ interpretations of genre. Since Darko Suvin’s theory is among the few testable definitions of science fiction given by literary scholars, we operationalize and test it. Our project works toward developing a model of science fiction, and introduces a new method for the interdisciplinary study of literature in which interpretations of literary scholars can be put to the test.

This essay weds conceptions of justice within Public Administration to the theme of revenge in the Hollywood Western, arguing that the revival of the genre in the 1990s reflects changes in the public conception of due process and equality before the law. The Western genre’s evolution is illustrative of the way definitions of justice are socially, contextually specific. Unforgiven illustrates this shift because the violence in the film symbolizes the vengeance culture so anathema to American notions of procedural justice and explores shifting conceptions of justice through a 19th century allegory of injustice, the heart of which is the treatment of a person as property. This fantasy of the violent resolution of conflict is examined against Public Administration's insistence upon resolving competing conceptions of the good through peaceful, deliberative modalities.

In Pierre; or, the Ambiguities (1852) Herman Melville analyzes the intricacies of subjectivity and economics by way of two concrete and quite different forms of antebellum American property relations-the residual estates of the landed gentry in upstate New York and the emergent urban market economy of New York City. A condition of unassailability,of timelessness and imperviousness, infuses the family estate in Pierre, while incessant exchange characterizes the novel's urban finale. Taken together, these opposed economic arrangements represent Melville's meditation on how the very concept of alienability, the definitive aspect of modern property relations, impacted forms of non-slave identity in the antebellum United States. The condition of inalienability that structures the patrimonial estates presents the initially attractive possibility of removal from the turbulent world of property relations, exchange, and commodification,but it turns out to be an ideological fantasy supported primarily by violence and death. Melville, always one to brood about selfhood, and faced in Pierre with his realization of the rottenness at the core of his fantasy of a subjectivity not riven by alienability,responds with the novel's urban section. This second portion of the novel presents market relations as a horror wreaked principally on the self. Pierre, ultimately, represents Melville's monument to the desirability, and his dismay at the impossibility, of imagining identity outside the syntax of a market economy's version of property relations.

O objetivo deste trabalho foi avaliar cultivares de melão rendilhado produzidas em plantas sob raleio dos frutos. Foram estudadas as cultivares Maxim, Louis, Fantasy, Shinju 200, e Bônus nº2, com as plantas conduzidas com dois e três frutos. O delineamento experimental foi em blocos ao acaso, em esquema fatorial 5x2, com quatro repetições e com as plantas dispostas no espaçamento de 1,0 m entre linhas e 0,5 m entre plantas. O experimento foi realizado em casa de vegetação, utilizando-se fertirrigação e vasos plásticos de 13 L, preenchidos com fibra da casca de coco Golden Mix® Misto 98. As mudas foram produzidas em bandejas de poliestireno expandido de 128 células e quando estavam com a primeira folha definitiva completamente desenvolvida foram transplantadas aos vasos. Foram avaliados o rendilhamento da casca, os diâmetros longitudinal e transversal do fruto, o índice de formato do fruto, os diâmetros longitudinal e transversal do lóculo, o índice de formato do lóculo, a espessura do mesocarpo, a massa média dos frutos e a produção por planta. Não houve interação entre os fatores estudados. Nas condições deste experimento, a condução de dois frutos por planta resultou em maior rendilhamento da casca, maior diâmetro transversal do fruto, maior diâmetro longitudinal do lóculo e maior massa média dos frutos. Porém, as maiores produções por planta foram observadas quando conduzidas com três frutos. Os híbridos Fantasy e Shinju 200 apresentaram as melhores características de frutos e maiores produções.

Using the music of the Final Fantasy game series as our case study, we follow the music through processes of transmediation in two very different contexts: the Netflix series Dad of Light and music transcription forum Ichigo’s Sheet Music. We argue that these examples reveal transmediation acting as a process of ‘emptying’, allowing the music to carry its nostalgic cargo of affect into new relationships and contexts. This study’s theoretical combination of transmediation with Bainbridge’s object networks of social practice frame challenges normative definitions of nostalgia. The phenomenon of ‘emptying’ we identify reveals a function of popular culture nostalgia that differs from the dominant understanding as a triggering of generalized emotional longing for (or the desire to return to) the past. Instead, this article uncovers a nostalgia that is defined by personal and communal creative engagement and highlights the active and social nature of transmediated popular culture nostalgia.

The poetic trope and aesthetic category of "distance" is central to Novalis's and Jean Paul Richter's definition of the Romantic, as embodied in dying sound and distant music. In the "young poetic future" proposed by the composer and critic Robert Schumann in the 1830s, romantic distance figures prominently, exemplified by the relationship between the endings of Jean Paul's Flegeljahre and Schumann's Papillons, Op. 2. Distance also provides the key for a new understanding of the relationship between analysis and poetic criticism in Schumann's review of Schubert's Great C-Major Symphony; between texted and untexted music in his Piano Sonata, Op. 11; between music and landscape in Davidsbündlertänze, Op. 6; and between the composer and his distant beloved in the Fantasie, Op. 17 and the Novelletten, Op. 21. The article presents new evidence of Schumann's reference to Beethoven's An die ferne Geliebte and Clara Wieck's Romance variée, Op. 3 in the Fantasie, and to Clara's Valses romantiques, Op. 4 in Davidsbündlertänze.

Con mucha frecuencia, el mundo de la literatura y el de la creación científica guardan entre sí un sospechoso parecido de familia. Será porque a nuestra fantasía le resulta imposible desprenderse de manera definitiva de lo que nos rodea; será porque todo acto de creación literaria no es más que un trasunto de nuestra propia peripecia biográfica.A veces, los científicos sociales crean metáforas que intentan dar cuenta de lo que esconde una determinada realidad, de los argumentos que la definen, de los protagonistas que la sostienen. Y, de pronto, esa realidad antes opaca se nos muestra como un libro abierto invitando a su lectura. En este artículo, vamos y venimos de la realidad a la fantasía literaria sin saber muy bien y sin preocuparnos en exceso por saber dónde empieza y termina cada una, porque, a la postre, las dos desembocan en el mismo río.

In this article—based on the fieldwork I conducted in Lisbon (Portugal) between 2018 and 2021, employing in-depth ethnography and self-ethnography—I describe the experience of the medicalization and moralization of beauty in Portuguese women aged 45–65 years. I examine the ways in which practitioners inscribe their expert knowledge on their patients’ bodies, stigmatizing the marks of time and proposing medical treatments and surgeries to “repair” and “correct” them. Beauty and youth are symbolically constructed in medical discourse as visual markers of health, an adequate lifestyle, a strong character and good personal choices (such as not smoking, and a healthy diet and exercise habits). What beauty means within the discourse of anti-aging and therapeutic rejuvenation is increasingly connected to an ideal gender performance of normative, white, middle-class, heterosexual femininity that dismisses structural determinants. The fantasy of eternal youth, linked to a neoliberal ideology of limitless enhancement and individual responsibility, is firmly entrenched in moralizing definitions of aesthetics and gender norms. Finally, my article highlights the ways in which the women I interviewed do not always passively accept the discourse of the devaluation of the ageing body, defining femininity and ageing in their own terms by creating personal variants of the hegemonic normative discourses on beauty and successful ageing.

Andrej Angrick's definitive work on Einsatzgruppe D is more than a history of the mobile killing unit, for the latter did not operate in a vacuum, but cooperated with the German military authorities to realize Nazi occupation policy in the south Ukraine and the Caucasus. In Angrick's words, Einsatzgruppe D was the “first and most radical instrument for the formation of the to-be-conquered Lebensraum” (p. 732). German determination to recast the ethnic composition of the U.S.S.R. was no “desk fantasy,” as reflected in the priority placed on settlement planning, which required the disappearance of Soviet Jews. Unlike Jewish communities in the western U.S.S.R., where survival of some was guaranteed by the need for labor, survivors in areas “worked” by Einsatzgruppe D were “minutely few”(p. 733). Angrick notes that his work is “perpetrator history”: his perpetrators permitted few victims to survive; and those who did were primarily peasants and Red Army soldiers whose stories were not told after the war. Nevertheless, postwar statements of the perpetrators assist the historian to “reconstruct … the internal history of the unit, down to the individual,” although cautions about judicial and historical “truth” should be well taken.

Abstract Objective: to understand mothers' bereavement experiences regarding the loss of their newborn child in the Neonatal Intensive Care Unit of a Brazilian university hospital. Methods: the study was designed by the clinical-qualitative method to understand the meaning of the emerging relationships of health scenarios. Sample consisted of six mothers. The sufficiency of the sample was verified through the saturation of the data. The data collection instrument was a semistructured interview with script of open questions, the collected material was recorded and transcribed in full. Thematic analysis was performed by two independent authors. Results: feelings and perceptions of the grieving process gave rise to three categories: 1. Guilt and fantasy of bereavement related to the death and grief for their children; 2. Relationships and ambiguities - the relationship between internal concerns and perception of external relations; 3. Fear, disbelief, abandonment and loneliness - questions about perception of the external environment. Conclusions: mothers' bereavement experience is mainly permeated by loneliness and abandonment related to feelings of guilt for not being able to keep their children alive. The difficult and definitive separation in the postpartum period, caused by death, brings fantasies of reunion with their child. Women show the need to realize grief, especially by recognizing their baby's identity.

Marzo incompleto es el tercer viraje poético de Josefina de la Torre Millares (1907-2002). Publicado como libro en 1968, algunas de sus composiciones pueden rastrearse desde principios de los años 30. Es en 1945 cuando aparece la que podríamos denominar primera edición de este poemario, en el seno de la revista Fantasía, y entre esta edición y la definitiva publicada en libro hay notables variantes, así como poemas que aparecen en la primera y no se encuentran en la segunda -y viceversa-. Con este artículo nos proponemos reconstruir el proceso compositivo de Marzo incompleto a través del análisis de ambas ediciones, ofreciendo con ello algunas claves de lectura que apuntan a un cambio de sensibilidad en la comprensión del lenguaje poético por parte de la autora.

Para la aventura del rebuzno, que se considera generalmente como "cuento folclórico, se han señalado varias posibles fuentes, nacionales y extranjeras, antiguas y modernas, protagonizadas por un asno - símbolo universal y sempiterno de la estupidez y la ignorancia (pace Platero) - que, de un modo u otro, es la causa de cómicas, ridículas, absurdas o festivas rivalidades, contiendas, pendencias, guerras ... También se han sugerido como antecedentes ciertos sucesos supuestamente históricos que coinciden, al menos en algunos detalles, con el episodio cervantino, pero predomina la convicción de que éste, como todos sus antecedentes, son, en definitiva, sólo "consejas" populares, productos ficticios de la fantasía, sin base concreta, reconocible en la realidad: "From the realistic point of view the episode [ el cervantino] is ... inherently improbable".

Para la aventura del rebuzno, que se considera generalmente como "cuento folclórico, se han señalado varias posibles fuentes, nacionales y extranjeras, antiguas y modernas, protagonizadas por un asno - símbolo universal y sempiterno de la estupidez y la ignorancia (pace Platero) - que, de un modo u otro, es la causa de cómicas, ridículas, absurdas o festivas rivalidades, contiendas, pendencias, guerras ... También se han sugerido como antecedentes ciertos sucesos supuestamente históricos que coinciden, al menos en algunos detalles, con el episodio cervantino, pero predomina la convicción de que éste, como todos sus antecedentes, son, en definitiva, sólo "consejas" populares, productos ficticios de la fantasía, sin base concreta, reconocible en la realidad: "From the realistic point of view the episode [ el cervantino] is ... inherently improbable".

Se analiza Lecciones de ilusión destacando su singularidad dentro del panorama de la novela española actual, situándose la novela de d’Ors dentro de la tradición de la novela moderna centro-europea (Kafka, Mann, Kundera, etc.). Este trabajo tiene por objeto estudiar el tipo de representación de la realidad y de la existencia que se da en la novela. Descubriremos que la originalidad de d’Ors estriba en que, pese a situarse en la tradición de una novelística definida por su visión pesimista y desarraigada, utiliza, sin embargo, procedimientos narrativos modernistas para proponer finalmente una visión positiva y luminosa de la experiencia humana. Novela en la que, en definitiva, los planos de la realidad, la fantasía y la ficción se confunden para poner de relieve la condición ontológica y hermenéutica del ser humano: ser límite fronterizo del mundo.

<p>En la actual era de posverdad y sociedad hipermoderna la incerteza ha comenzado a ser prediseñada por actores de la factoría alimentaria en un contexto de ciencia politizada y de capitalismo digital. El ghostwriting refiere a una modalidad autoral o de escritura fantasma mediante la cual un sujeto tiene injerencia sobre una obra que luego es publicada, divulgada y/o difundida con el nombre de otro sujeto. El ghostwriter es el verdadero autor o ideólogo del contenido de la obra pero permanece oculto ante el destinatario o público. El signatory writer es el autor o escritor firmante; es el autor no verdadero pero aparente. Ello define o tipifica la categoría general de ghostwriting. Se ensayan dos subcategorías de ghostwriting que pueden construirse según la incidencia o injerencia del ghostwriter en la obra. Una subcategoría es el ghostwriting literario o artístico, históricamente presente en producciones literarias en que un ghostwriter elabora un contenido y luego un signatorywriter lo difunde con su nombre. A continuación se destaca la otra subcategoría: el ghostwriting <em>pseudocientífico</em>, en el cual el ghostwriter (por ejemplo, una corporación que elabora y comercializa alimentos) crea el contenido medular de un estudio pseudocientífico para que las conclusiones le sean favorables. El signatorywriter (un especialista o experto) escribe la obra e incluye el contenido que le es indicado por aquel. Estos pseudoestudios no son ni objetivos ni independientes, por lo tanto, no son científicos. Implican una manipulación, tergiversación o distorsión de la verdad y de la información. En definitiva, el ghostwriting <em>pseudocientífico </em>genera <em>fake news científicas</em>. Se han realizado estudios científicos que demuestran la existencia cada vez mayor de este hecho por parte de la industria alimentaria, entre otros. A partir de lo dispuesto por el art. 70 de la Constitución R. O. Uruguay (arts. 75.19 y 125 de la Constitución de la Nación Argentina), el cual protege el desarrollo de la investigación científica, y otras normas del sistema jurídico uruguayo, se plantean algunas hipótesis de investigación jurídica.</p>

<p>En la actual era de posverdad y sociedad hipermoderna la incerteza ha comenzado a ser prediseñada por actores de la factoría alimentaria en un contexto de ciencia politizada y de capitalismo digital. El ghostwriting refiere a una modalidad autoral o de escritura fantasma mediante la cual un sujeto tiene injerencia sobre una obra que luego es publicada, divulgada y/o difundida con el nombre de otro sujeto. El ghostwriter es el verdadero autor o ideólogo del contenido de la obra pero permanece oculto ante el destinatario o público. El signatory writer es el autor o escritor firmante; es el autor no verdadero pero aparente. Ello define o tipifica la categoría general de ghostwriting. Se ensayan dos subcategorías de ghostwriting que pueden construirse según la incidencia o injerencia del ghostwriter en la obra. Una subcategoría es el ghostwriting literario o artístico, históricamente presente en producciones literarias en que un ghostwriter elabora un contenido y luego un signatorywriter lo difunde con su nombre. A continuación se destaca la otra subcategoría: el ghostwriting <em>pseudocientífico</em>, en el cual el ghostwriter (por ejemplo, una corporación que elabora y comercializa alimentos) crea el contenido medular de un estudio pseudocientífico para que las conclusiones le sean favorables. El signatorywriter (un especialista o experto) escribe la obra e incluye el contenido que le es indicado por aquel. Estos pseudoestudios no son ni objetivos ni independientes, por lo tanto, no son científicos. Implican una manipulación, tergiversación o distorsión de la verdad y de la información. En definitiva, el ghostwriting <em>pseudocientífico </em>genera <em>fake news científicas</em>. Se han realizado estudios científicos que demuestran la existencia cada vez mayor de este hecho por parte de la industria alimentaria, entre otros. A partir de lo dispuesto por el art. 70 de la Constitución R. O. Uruguay (arts. 75.19 y 125 de la Constitución de la Nación Argentina), el cual protege el desarrollo de la investigación científica, y otras normas del sistema jurídico uruguayo, se plantean algunas hipótesis de investigación jurídica.</p>

El compromiso que las docentes de preescolar tenemos con la iniciación en la lectura por parte de los infantes se manifiesta cada vez que se enseña y se promueven los vínculos afectivos que unen al niño y al adolescente y adulto posterior con el mundo de la vida. La lectura debe ser compartida y dejando al infante manifestar su interpretación para que vuele su imaginación a esos sueños de infancia. De este modo estamos formando lectores ávidos, imaginativos, creativos en definitiva se desarrolla el sentido crítico, de los futuros ciudadanos.El deleite que los niños sienten a través de un aprendizaje experiencial de la lectura es de enorme valor didáctico. Estos placeres, grandes o pequeños provistos por la lectura deben ser incluso para aquellos que su proceso es retardado. Aquellos que aún no saben leer les debe servir para adquirir logros a corto y mediano plazo y facilitar su desarrollo como ser humano y brindarle acceso al mundo del conocimiento, desplegar las alas de su fantasía, sentar las bases para que el aprendizaje de la lectura sea seguro sino porque este abierto mentalmente al nuevo aprendizaje en su condición de aprendiz durante su vida futura.Los niños que adquieren los procesos de la lectura a temprana edad, aprenden a leer más rápido y con mayor facilidad. Lo más importante es que reconozcan los códigos lingüísticos de la escritura y su relación con el habla, para descubrir cada tesoro que la lectura les ofrece. Las lecturas deben ser compartidas con adultos para una mejor comprensión y no solo sea descubrir el código secreto de la lectura, sino que es la llave que abre las puertas a mundos imaginarios.

Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural positive state» [2], and defined Postmodernism as «the general direction of modern European culture, formed in 1970–80-es» [2]. Now there is no single definition of «postmodern», probably, due to the incompleteness, continuity of formation of this phenomenon. Some philosophers, in particular, J. Habermas, D. Bell and Z. Bauman, consider postmodernism as the result of politics and ideology of neo-conservatism, which is characterized by aesthetic eclecticism [3]. Italian philosopher and writer U. Eco understands postmodernism as a process of changing one cultural era to another, perceiving it as «... the answer to modernism: since the past cannot be destroyed, because its destruction leads to dumbness, it needs to be rethought, ironically, without naivety» [5: 77]. This approach most accurately reveals the essence of postmodern art. In the field of aesthetics, the work of F. Jameson, «Postmodernism or The cultural logic of late capitalism», where postmodernism is represented as a «cultural dominant» is quite indicative. The philosopher defines such typical phenomenon of postmodern culture as a simulacrum, weakening of affects, the consequence of which is «the replacement of alienation of the subject by its fragmentation» [1: 105], the disappearance of the individual subject and the emergence on this basis of the practice of pastiche [1: 108], the loss of historicity. In musicology, the question of the essence of postmodernism has not yet received a sufficient scientific basis. From the latest works of Ukrainian researchers, in our opinion, it is disclosed most complete in the D. Ruzhinsky’s article “Specificity of the manifestation of postmodernism in musical creativity” [4]. The object of presented research is the specificity of postmodernism manifestations in an art; the subject of research are the postmodern landmarks in the individual style of outstanding Canadian pianist and composer M.-A Hamelin. The purpose of the article is to reveal the interrelation of the composer’ and performing style by M.-A. Hamelin with the aesthetic paradigms of Postmodernism. The methodological basis of the research consists of the concepts of postmodern philosophy and aesthetics presented in the works of J. Habermas, D. Bell, Z. Bauman. U. Eco, F. Jameson. For more full understanding of specificity of the postmodern traits implementation in M.-A. Hamelin’s activity, the “creative portrait” genre as well as analyses of some fragments of his music was used. Presenting the main material. The art of postmodernism reflects a fundamentally new attitude to the process of creativity, which includes of such typical features as 1) quoting or using famous plots, which are the realities of the culture of previous eras; 2) intertextuality; 3) the prevalence of the audience interpretation over the composer’s idea, when the author’s position is not decisive (according to M. Foucault, “the death of the author”); 4) syncretism; 5) the irony and the parody-game designing of works. The creativity of Marc-Andr&#233; Hamelin (b.1961) – the world-renowned Canadian virtuoso pianist and composer – is one of the brightest personifications of these principles, as well as their individual understanding. In 1985, he won the First prize at the competition at Carnegie hall, with which he began his ascent to the musical Olympus as a performer. To date, M.-A. Hamelin, an outstanding pianist and soloist, performs with many leading world orchestras, and his discography total more than 60 albums, including both his own works and the works of many composers of different genres and eras. In addition to intensive performance and interpretation activities, the Canadian artist is also engaged in composition, and his artistic search is concentrated mainly within the framework of piano music, which is quite natural. Among the works for piano solo the transcriptions can be identified, such as the “Etude-fantasy ‘Flight of the bumblebee’” by Rimsky-Korsakov (1987), “Waltz-minute, in seconds” (transcription of Chopin’s waltz). Another group of works &#8210; miniatures are, for example, the “Little Nocturne” (2007), “Preamble to the imaginary piano Symphony” (1989), “My impressions about chocolate” (2014); the cycles of miniatures – “Con intimissimo sentimento” (1986–2000); the larger-scale pieces – “Barcarolle” (2013), “Chaconne” (2013). The composer wrote the three cycles of variations and the cadenzas for piano concertos by Mozart (K453 and 491), for the Fourth piano Concerto by Beethoven, the Third and Fourth Concertos by Haydn and The second Hungarian Rhapsody by Liszt. In addition to the solo piano music, the composer turned to the chamber genre (“Fanfare” for three trumpets, “Passacaglia”» for piano quintet, «Four perspectives» for cello and piano). His style is characterized by the frequent using of thematic material from the works by other composers of different eras. From the very beginning, Hamelin rethinks this material, not introducing it in its original form, but transforming it. For example, in the “Variations on The theme of Paganini” the theme of the Twenty-fourth Caprice is already “modernized”: maintaining the harmonic basis of it, the author adds the non-chords sounds and the remark to tempo, which notes that the theme should be played “with a groove”, as it is typical for salsa, rock and fusion style. Interpretations of the quoted material are not in the original, but in its creative processing can see although in the Seventh variation with the theme of the Third variation of Sonata No. 30 by Beethoven. Another typical feature of postmodernism of the Canadian artist’s work is manifested in a certain game with the listener, because to catch all the allusions, to understand the quotes and styles of different eras, he must be intellectually well prepared. Some of the noted features of the composer’s creation find their direct projection in the performing pianistic style of M.-A. Hamelin. For example, virtuosity, which is present in his works in both explicit and veiled form, fully manifests itself in the interpretation of the works of other composers. Another characteristic feature of the performing style of M.-A. Hamelin is his aspiring to end-to-end development and cyclicity. In his discography, there are many different cycles, sometimes quite voluminous, performed by him as a whole. In practice of composition this is manifested at the level of the musical form (cycles, parts of which often follow directly one after another, and sometimes even the final harmony of one of the parts becomes the beginning of the next part). Conclusion. The results of the research confirm the idea of the relationship of Hamelin’s individual creative style with the basic ideas of postmodernism aesthetics. Quite typical for the manner of writing of the Canadian artist is the attraction to the throughness of development, to the creation of micro-cycles (as well as to the performing of cyclic works of other composers); the combination of ironic rethinking of thematic material with virtuosity; the playing with the listener on the basis of the introduction of quotation material and work with it; the combination of different styles within one work. Such manner requires a prepared, meaningful perception, that is, to paraphrase U. Eco, the «ideal listener».

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A large group of woman authors who wrote love, sentimental narrations or stories that strengthened traditional values were also included. These were not women writers’ only topics as others deal with illusive subjects with slight touches of humor and restrained emotions, and a third group gingerly presents institutionalized inequality that women face particularly in marriage. 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Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is reminiscent of a Chinese dancing Dragon. The episode with the hand fans depicting the “cat’s claws” is accompanied by alarming drum sound: Pannochka has no repose from the Witch even after death. The village in the new picture is reflected in the ripples of water: the real world is floating, swinging. Hanna and Levko confess their love to each other, however, Kalenik suddenly appears, recalling the Head. The image of the Head is solved by the director using two masks – large and small. At the beginning of the second act, the actors appear on the stage with long poles, which are similar both to the Chinese combat weapon and to the Ukrainian musical instruments “trembits”, allowing the actors to show brilliant plastic technique of “slow-motion”. Stylized masks of animals (cows, goats, pigs, roosters), which the walking lads pulling on themselves are the allusion to the Christmas fests. The lad boys strive to annoy the Head, so Head masks reappear on the scene, but there are already three of them: large, medium and small. With their help, there is a debunking of this character losing his power. The action transferred to the bottom of the pond, as symbolized by stylized fish. The drums and the fans – the cat’s claws – once again remind of the conflict between Pannochka and the Witch. Like in Gogol’s novella, the heroine asks Levko to find the Stepmother-Witch. The marionnette a la planchette and then – a shadow paper doll represent the image of the hero. Thanks to Levko, Mermaids (the original puppets) seize the Witch, and her death is symbolized by a broken rattle-rattle with the image of the cat’s muzzle. Next, the scene action follows by the Gogol’s novella: grateful Pannochka given to Levko the note, Head read it and allowed his son to marry Hanna. The image of Levko is represented here both in the system of the tablet puppet and in the means of the shadow theater. And the long clothes-shrouds acquainted from the first episodes of the play perform a number of new functions: this is the water of the pond, where Pannochka floats, and the paper, on which the note is written, and later – the wedding table. In this way the end of the Pannochka plot line comes. The spiritual verse «The soul with the body was parting» sounds, and in the hands of actress V. Mishchenko, the light paper doll, as the soul of her heroine, seeks up into the sky. Pannochka redeemed her sins, and now her soul can fly to heaven, because Easter has come. The last episode uses the “time-lapse” technique symbolizing the cleansing of the world from evil, and Pannochka’s leitmotif is organically superimposed on the Easter chime of bells. The action ends with a rap on the words “The Angels had opened the windows and they are looking on us” and the news that Easter has come. The final supports an idea that a person’s life moves from Christmas to Easter, from suffering to light, thus closing the spectacle into a ring composition. Conclusions. The original Gogol’s text allowed O. Dmitrieva to show a wide palette of modern possibilities of the puppet theater and the high skill of the actors of the “live plan”. In addition, the interweaving of national and foreign, Orthodoxy and paganism, an appeal to the expressive possibilities of the Ukrainian folk and modern music and to the ballet plastique suggest the postmodern nature of the play «May night, or MoonlightWitchcraft».

Señor Editor: Ya se ha dicho en forma reiterada que esta encrucijada planetaria, la pandemia del COVID-19, se configura como la mayor crisis que la especie humana ha enfrentado en los últimos dos siglos, comparable solo con situaciones del calibre de las Guerras Mundiales o el Cambio Climático que hoy nos aqueja. No es majadero, referirse a ésta - la pandemia - como un problema multifactorial que cala en lo más hondo de las dimensiones sociales, educativas, económicas y por supuesto sanitarias de nuestras vidas. Como sistema educativo se nos impuso un obligado y vertiginoso desafío para adaptar rápidamente nuestra docencia a un formato on-line, incluyendo a aquellos niveles educativos que nunca habríamos pensado en impartir completamente a distancia, como la educación parvularia, básica y media. En lo que respecta a la transformación digital de la educación superior y en especial la formación de los profesionales de la salud, nos permitimos plantear algunas reflexiones sobre la implementación de la modalidad de aprendizaje on-line, que se extraen de las lecciones aprendidas de la Escuelas de Medicina de otros sectores del globo que, al poco andar de la crisis, generosamente ya han compartido a la comunidad médica mundial. Conceptualmente, la educación en línea se define como el uso de Internet con fines educativos. Es una modalidad de enseñanza-aprendizaje que aspira a ser flexible, atractiva y centrada en el estudiante, fomentando la colaboración, comunicación e interacción entre los integrantes de la comunidad de aprendizaje (estudiantes, tutores y docentes) con el contenido. Por lo tanto, es más que un repositorio de recursos que el docente dispone para ser revisados por los estudiantes durante un determinado período de tiempo (Ellaway & Masters, 2008). Los recursos digitales se organizan en entornos educativos virtuales y deben ser considerados un medio para el aprendizaje y no un fin en sí mismo: lecturas, presentaciones, videoconferencias, blogs, wikis, redes sociales, foros, podcast, portafolios, juegos, simulaciones, entre otras. Asimismo, existe un continuo entre una modalidad completamente presencial hasta los cursos en línea, pasando por una estrategia intermedia conocida como “blended” o híbrida que combina ambas modalidades, procurando que gran parte del contenido teórico se aborde a distancia y los encuentros presenciales se reserven para aquellas experiencias de aprendizaje que requieran una interacción cara a cara, como son las actividades clínicas, visitas a terreno, seminarios de razonamiento clínico, laboratorios, entre otras. La modalidad online ofrece múltiples ventajas para la formación de los profesionales de la salud, como la promoción de un aprendizaje autodirigido, a través de entornos de aprendizaje flexible con disponibilidad permanente, además de involucrar a los estudiantes en una comunidad de aprendizaje colaborativo (Lewis et al., 2014). La tecnología está revolucionando la medicina, sin embargo, la manera de formar profesionales de la salud no ha cambiado al ritmo de los tiempos. Es cierto que la medicina clínica se aprende en el ambiente clínico y el encuentro con el paciente es muy valioso como experiencia educacional, pero hemos sido ineficientes como educadores en la gestión del tiempo y recursos humanos. Los recursos en línea se pueden utilizar para preparación de experiencias clínicas eficientes y de alto impacto educacional (Wilkinson, 2012). En este contexto de pandemia, donde el diseño e implementación de la docencia virtual ha debido realizarse con premura y no exento de problemas, ha resultado fundamental aprehender de las lecciones de los otros países. En este sentido, un grupo de educadores médicos de los Emiratos Árabes plantea algunas recomendaciones para su adopción en un contexto de urgencias, con el objeto de sobrellevar con éxito el intempestivo cambio en la modalidad de aprendizaje en estos tiempos, las cuales son: (i) establecer un sentido de urgencia, que es crucial para el manejo del cambio, (ii) establecer un grupo de trabajo al interior de la facultad que lidere la transición de modalidad de aprendizaje presencial a online, (iii) realizar un análisis de necesidades de docentes y estudiantes (competencias digitales, recursos y equipamientos, entre otros), (iv) establecer y comunicar un plan de trabajo a la comunidad universitaria, (v) capacitar a los docentes en los roles del profesor virtual: pedagógico, administrador, social y técnico, (vi) consensuar los contenidos curriculares, decidiendo que se puede enseñar ahora, que se agrega, omite o pospone, (vii) establecer las estrategias de entrega de los contenidos (sincrónico o asincrónico), (viii) manejar el estrés de los estudiantes, tanto por la modalidad de aprendizaje como por la situación de emergencia sanitaria y sus repercusiones personales y/o familiares, (ix) promover la motivación y compromiso de los estudiantes, (x) planificar la evaluación de los aprendizajes, (xi) anticipar los potenciales problemas y estrategias de solución (problemas de conectividad, inestabilidad de las plataformas de comunicación, dificultades de docentes en particular, entre otros) y (xii) monitorizar y evaluar la implementación de la educación virtual y su mejora continua (Taha et al., 2020). En este escenario de contingencia es el ciclo clínico es el que se ve proporcionalmente más afectado, dado principalmente por su intrínseca manera de aprender basado en la interacción con los pacientes en el contexto clínico real. Entre las razones que se plantean para explicar el detrimento de la docencia clínica está la escasez de tiempo docente por parte de los clínicos que participan directamente de la atención de los pacientes en la pandemia y la definitiva suspensión de las actividades asistenciales de los cursos clínicos de pregrado en algunos hospitales del mundo. Ante estas dificultades, surgen las siguientes preguntas e ideas para compensar con éxito la formación clínica; (i) promover una sensación de nueva normalidad al interior de los grupos internado, motivados por un tutor con dotes de liderazgo, (ii) implementar resolución de casos clínicos en sesiones virtuales, (iii) utilizar al máximo las herramientas digitales en salud, más allá de la sola telemedicina, (iv) entrenar el monitoreo signos vitales y otro parámetros biomédicos de los pacientes, a través de la “internet de la cosas” y (v) dar cumplimiento riguroso a todos los estándares bioéticos que exige el contexto de salud digital con estudiantes supervisados (Rose, 2020). La implementación de la docencia virtual implica múltiples desafíos, tanto para los docentes como los estudiantes. Por una parte, se requiere docentes capacitados en la planificación, diseño, implementación y evaluación en entornos educativos virtuales. Esto implica romper la tentación de realizar la misma clase presencial en una plataforma virtual. La modificación del plan del curso de manera creativa permitirá utilizar lo mejor de las herramientas digitales para promover aprendizaje profundos, colaborativos y significativos. Dado lo anterior, es un imperativo la incorporación de estas temáticas en los programas de formación de los futuros educadores de las profesiones de la salud: diseño instruccional, creación de recursos digitales, evaluación en entornos virtuales, feedback efectivo, entre otros. En la otra vereda, los estudiantes que cursan asignaturas con un componente virtual importante requieren desarrollar la capacidad de autorregulación y manejo efectivo del tiempo de trabajo, con el propósito de administrar adecuadamente su propio proceso de aprendizaje, y de integridad académica, sobre todo en los procesos de evaluación y generación de los productos que sirven como evidencias de aprendizaje. La pandemia por el COVID-19 impulsó una transformación digital de la educación en todos sus niveles, para la cual probablemente no estábamos preparados, pero que intuíamos, debía haberse dado hace mucho tiempo. Qué duda cabe que, dentro de las barreras de implementación de esta modalidad educativa, el fantasma de la inequidad que arrastra nuestro sistema educativo hace varios años es un factor gravitante que aquí nuevamente se hace presente y de manera muy dolorosa, situaciones como el alto porcentaje de hogares sin conexión a internet y escases en la disponibilidad de computadores para los alumnos de sectores vulnerables, sobre todo en lugares apartados y rurales, son situaciones que deberemos corregir en el más breve plazo. Es cierto que no es posible concebir un currículo completamente online, sobretodo en la formación de pregrado, sin embargo, podemos incorporar las buenas prácticas aprendidas durante este período, para implementarlas en nuestra docencia del día después de superación de la pandemia. Así, habrá sido un virus que, entre otras cosas, catalizó la revolución de la educación, logrando una docencia acorde a los tiempos, centrada en el estudiante y apoyada en los recursos digitales, sin olvidar que el propósito final de todo nuestro quehacer es la formación de personas.

At the present stage of the development of literature the “pure” genre disappears, giving way to different entities that combine characteristic features of two or more genres. One of these relatively “new” literary phenomena is fantasy, ongoing discussions keep going around. The increased interest in it by literary critics may be explained by the constant dynamics of fantasy, which leads to the expansion of its thematic varieties, and hence to the expansion of the reader’s circle (it covers readers of different age groups and different social status). Fantasy naturally formed into an independent branch within the limits of speculative fiction in the second half of the twentieth century. In fact, it has origins in the centuries-old tradition of the fantastic (mythical folklore tradition, Medieval, baroque, traditions of the Gothic novel, romanticism and modernism), where it borrowed various ways of reproduction of reality. Despite the large quantity of studies devoted to various aspects and problems of the study of fantasy (S. Dreier, N. Fredrickson, E. Lugovaya, T. Markova, V. Tolkachova, T. Khoruzhenko etc.), there is no clear definition of this concept. Most literary scholars call fantasy a genre, outlining the persistent components of its content (mythological basis, adventure intrigue, the division of the heroes into possessing superpowers, the presence of magical artefacts, opposition to the evil on a global scale). We believe that fantasy is a meta-genre that has its own stable structure of modeling the world and brings together a diverse array of genres in literature and other arts as a common object of artistic representation. However, today to assert that fantasy is a meta-genre, lacks one important component ‑ the preservation of the structural semantic nucleus over several eras. Although we can assert that fantasy elements have already been clearly depicted in modernism.

This article evaluates the utilisation of fantasy in the contemporary, mainstream biopic as evidence for deconstruction from the classical generic form. By using Miss Potter (2006) as an illustrative case study, this paper interrogates the inclusion of fantasy in relation to wider trends in the biopic’s development. Drawing on James Walters’ definition of ‘interior fantasy’, I examine the representation of ‘real’ animated characters in Miss Potter that the central protagonist both talks to and interacts with. Through a combination of narrative and production analysis, I explore how and why fantasy elements are included in a film which, in all other aspects, represents a realist, albeit dramatised, depiction of the well-known British author Beatrix Potter. Central to this is a consideration of whether the use of fantasy conflicts with historical accuracy and factual account in portraying the subject’s ‘real-life’ story. It finds that the ‘interior fantasy’ as seen in Miss Potter ultimately represents an extension of the formal components typically associated with the biopic. More broadly, this article contributes to recent, revisionist critiques, by assessing the deconstructive tendencies of the modern mainstream biopic and re-considering its place within contemporary cinema.

The article presents the results of the peculiarities and difficulties of the author's realia translation analysis, which create the nominative space of the unreal world of fantasy novels. The essence of the «quasi-realia» concept and their functional field within the literature of the fantasy genre is revealed. As is known, in the field of translation of fiction it is especially difficult to convey the specific units of the original text, which denote atypical, nationally and culturally marked concepts – realia that are obscure or completely unknown within the linguistic culture of the target audience. However, if some additional information and reference sources can be used for the translation of ordinary realia, in the case of author’s realia, on the basis of which a completely new fantasy world is created and depicted, the translator faces a task of a double complexity – to reproduce not only the plot, style and author’s intentions, but also completely build the whole onomasticon of unreal space by means of the language of translation so that it appears in the imagination of the target readership as detailed, alive and connotatively rich as it appears in the English one. In view of this, the main focus in this work is made on the definition and analysis of translation inaccuracies made in the transmission of a number of fantasy quasi-realia. The study presented in the article is based on the classification and substantiation of inaccuracies in the transfer of quasi-real lexical units in the Ukrainian translation of the world-famous series of fantasy novels «А Song of Ice and Fire» by George R.R. Martin, made by Natalia Tysovs’ka and published by the publishing house «KM-Books». The identified inaccuracies are correlated with inappropriately used translation transformations, in particular lexical and lexical-semantic changes of the original quasi-realia, the use of which led, for example, to the loss of the connotative component of original units, complicating or distorting their plan of content, superimposing real-world names on objects and phenomena of unreal space, as well as violations of the general logic and systematic transmission of quasi-realia, typical in the analyzed world.

Magical realism as an artistic genre has been specified principally as a literary genre in its development. It is generally thought to have originated in South American folklore and literary writing, but this is a creative style that is quintessentially African. Defying a neat definition, magical realism is understood in this article as about human beings interacting with their environment. Characterised by elements of the fantastic woven into a narrative with a sense of presentation, magical realism is controversial. The controversy ranges from political undertones where critics have thought the term a postcolonial label employed by colonisers to marginalise the fiction of the colonised to express alterity. In African oral literature, magical realism is a genre that has serves to reveal the intimate relationship between reality and fantasy. The focus in this article is therefore on the use of magical realism as a device in selected African literary works in English to show that this device is not only employed by third world writers to cover up their lack of artistic merit, but also to instill cultural values and norms. The intention is also to indicate the often subordinated grandeur of African oral and literary classics.

There is still no simple or agreed-upon definition of perversion. Furthermore, changing cultural opinions on sexuality question even the use of this term. In answer to these challenges, a conceptional distinction is proposed between sexuality per se, describing an aspect of an individual’s personality, and sexuality in actu, describing manifest sexual fantasy and behavior. Sexuality per se subsumes hetero- and homosexuality as well as conditions traditionally called “perversions” on the same de-pathologized level and calls them adult sexual organizations. The use of the terms perversion and perverse is restricted to a specific mode of sexuality in actu, i.e. when, in sexual activities, non-sexual functions have gained priority over sexual drive satisfaction. This clarifies which sexual activity may be an issue of psychoanalytic scrutiny and of often successful therapy and which not. Two case examples and a brief look into psychoanalytic literature illustrate the proposal.

AbstrakDalam sastra, realisme magis dianggap sebagai alat yang ampuh untuk menunjukkan perlawanan terhadap kolonialisme dan neokolonialisme, terutama di negara berkembang yang sebagian besar masyarakatnya digambarkan masih menderita akibat efek destruktif kolonialisme. Penelitian bertujuan mendeskripsikan makna realisme magis dalam novel Jours de Colère dan l’Enfant Méduse karya Sylvie Germain. Berbeda dengan definisi genre fantastique (Todorov, 1970), realisme magis hadir sebagai bagian wajar dan tak terpisahkan dari cerita yang realis (Chanady, 1985). Realisme magis yang ada dalam kedua novel ini ada pada mitos, legenda, dan dongeng yang tergambar dalam narasi, deskripsi, maupun tokoh-tokohnya. Sejalan dengan Eugene Arva (1995) yang mengungkapkan bahwa realisme magis adalah jalan untuk mengungkapkan trauma yang tidak bisa diungkapkan, tokoh-tokoh dalam kedua novel memiliki pengalaman traumatis baik yang disaksikan maupun yang dialami sendiri. Dengan menggunakan pendekatan kualitatif dan metode deskriptif analitis, hasil penelitian ini menunjukkan bahwa hal-hal magis yang melekat pada tokoh-tokoh di kedua novel dapat diargumentasikan bermakna sebagai strategi untuk mengungkapkan berbagai kejadian ekstrem yang ada dalam novel seperti kekerasan seksual dan pembunuhan. Penggunaan realisme magis ini tidak berfungsi untuk membuat pembaca memahami, namun untuk merasakan peristiwa yang terjadi.Kata Kunci: realisme magis, le mal, fantasi, traumaAbstractThis paper is intended to reveal the meaning of magical realism in the novels of Sylvie Germain's Jours de Colère l’Enfant Méduse. In contrast to the definition of the genre fantastique (Todorov, 1970), magical realism is present as a reasonable and inseparable part of a realist story (Chanady, 1985). The magical realism that exists in these two novels lies in myths, legends, and fairy tale that are depicted in the narration, description, and characters. Eugene Arva (1995) revealed that magical realism is a way to express unexplained trauma, the characters in both novels have traumatic experiences both witnessed and experienced by themselves. By using a qualitative approach and analytical descriptive method, the results of this study indicate that the magical things inherent in the characters in both novels can be argued as a strategy to express extreme events experienced such as sexual violence and murder. The use of magic realism is not working to make the reader understand, but to feel the events that occurred.Keywords: Magical realism, evil, fantasy, trauma

Introduction: Game Culture and GenderAs texts with the potential to help mediate specific forms of identity, video games are rich and complex sites for analysis. A tendency, however, still exists in scholarship to treat video games as just another kind of text, and work that explores the expression of masculine identity persists in drawing from cinematic analysis without proper consideration of game design and how these games are played (Triana). For example, insights from studies into horror cinema may illuminate the relationship between players and game systems in survival horror video games (Habel & Kooyman), but further study is needed to explore how people interact with the game.This article aims to build towards a scholarly definition of the term “Power Fantasy”, a concept that seems well established in wider discourse but is not yet well theorised in the scholarly literature. It does so through a case of the most recent reboot of Doom (2016), a game that in its original incarnation established an enduring tradition for high-action Power Fantasy. In the first-person shooter game Doom, the player fills the role of the “Doom Guy”, a faceless hero who shuttles between Earth and Hell with the sole aim of eviscerating demonic hordes as graphically as possible.How, then, do we begin to theorise the kind of automediation that an iconic game text like Doom facilitates? Substantial work has been done to explore player identification in online games (see Taylor; Yee). Shaw (“Rethinking”) suggests that single-player games are unexplored territory compared to the more social spaces of Massively Multiplayer Online games and other multiplayer experiences, but it is important to distinguish between direct identification with the avatar per se and the ways in which the game text mediates broader gender constructions.Abstract theorisation is not enough, though. To effectively understand this kind of automediation we also need a methodology to gain insights into its processes. The final part of this article, therefore, proposes the analysis of “Let’s Play” videos as a kind of gender identity performance which gives insight into the automediation of dominant masculine gender identities through Power Fantasy video games like Doom. This reflexive performance works to denaturalise gender construction rather than reinforce stable hegemonic identities.Power Fantasy and Gender IdentityPower Fantasy has become an established trope in online critiques and discussions of popular culture. It can be simply defined as “character imagines himself taking revenge on his bullies” (TVTropes). This trope takes on special resonance in video games, where the players themselves live out the violent revenge fantasy in the world of the game.The “power fantasy” of games implies escapism and meaninglessness, evoking outsize explosions and equally outsized displays of dominance. A “power gamer” is one who plays with a single-minded determination to win, at the expense of nuance, social relationships between players, or even their own pleasure in play. (Baker)Many examples apply this concept of Power Fantasy in video games: from God of War to Metroid: Prime and Grand Theft Auto, this prevalent trope of game design uses a kind of “agency mechanics” (Habel & Kooyman) to convince the player that they are becoming increasingly skilful in the game, when in reality the game is simply decreasing in difficulty (PBS Digital Studios). The operation of the Power Fantasy trope is also gendered; in a related trope known as “I Just Want To Be a Badass”, “males are somewhat more prone to harbour [the] wish” to feel powerful (TVTropes). More broadly, even though the game world is obviously not real, playing it requires “an investment in and commitment to a type of masculine performance that is based on the Real (particularly if one is interested in ‘winning’, pummelling your opponent, kicking ass, etc.)” (Burrill 2).Indeed, there is a perceived correlation (if not causation) between the widespread presence of Power Fantasy video games and how “game culture as it stands is shot through with sexism, racism, homophobia, and other biases” (Baker). Golding and van Deventer undertake an extended exploration of this disconcerting side of game culture, concluding that games have “become a venue for some of the more unsophisticated forms of patriarchy” (213) evidenced in the highly-publicised GamerGate movement. This saw an alignment between the label of “gamer” and extreme misogyny, abuse and harassment of women and other minorities in the industry.We have, then, a tentative connection between dominant gameplay forms based on high skill that may be loosely characterised as “Power Fantasy” and some of the most virulent toxic gender expressions seen in recent times. More research is needed to gain a clearer understanding of precisely what Power Fantasy is. Baker’s primary argument is that “power” in games can also be characterised as “power to” or “power with”, as well as the more traditional “power over”. Kurt Squire uses the phrase “Power Fantasy” as a castaway framing for a player who seeks an alternative reward to the usual game progression in Sid Meier’s Civilisation. More broadly, much scholarly work concerning gameplay design and gender identity has been focussed on the hot-button question of videogame violence and its connection to real-world violence, a question that this article avoids since it is well covered elsewhere. Here, a better understanding of the mediation of gender identity through Power Fantasy in Doom can help to illuminate how games function as automedia.Auto-Mediating Gender through Performance in Doom (2016) As a franchise, Doom commands near-incomparable respect as a seminal text of the first-person shooter genre. First released in 1993, it set the benchmark for 3D rendered graphics, energetic sound design, and high-paced action gameplay that was visceral and deeply immersive. It is impossible to mention more recent reboots without recourse to its first seminal instalment and related game texts: Kim Justice suggests a personal identification with it in a 29-minute video analysis entitled “A Personal History of Demon Slaughter”. Doom is a cherished game for many players, possibly because it evokes memories of “boyhood” gaming and all its attendant gender identity formation (Burrill).This identification also arises in livestreams and playthroughs of the game. YouTuber and game reviewer Markiplier describes nostalgically and at lengths his formative experiences playing it (and recounts a telling connection with his father who, he explains, introduced him to gaming), saying “Doom is very important to me […] this was the first game that I sat down and played over and over and over again.” In contrast, Wanderbots confesses that he has never really played Doom, but acknowledges its prominent position in the gaming community by designating himself outside the identifying category of “Doom fan”. He states that he has started playing due to “gushing” recommendations from other gamers. The nostalgic personal connection is important, even in absentia.For the most part, the critical and community response to the 2016 version of Doom was approving: Gilroy admits that it “hit all the right power chords”, raising the signature trope in reference to both gameplay and music (a power chord is a particular technique of playing heavy metal guitar often used in heavy metal music). Doom’s Metacritic score is currently a respectable 85, and, the reception is remarkably consistent between critics and players, especially for such a potentially divisive game (Metacritic). Commentators tend to cite its focus on its high action, mobility, immersion, sound design, and general faithfulness to the spirit of the original Doom as reasons for assessments such as “favourite game ever” (Habel). Game critic Yahtzee’s uncharacteristically approving video review in the iconic Zero Punctuation series is very telling in its assessment of the game’s light narrative framing:Doom seems to have a firm understanding of its audience because, while there is a plot going on, the player-character couldn’t give a half an ounce of deep fried shit; if you want to know the plot then pause the game and read all the fluff text in the character and location database, sipping daintily from your pink teacup full of pussy juice, while the game waits patiently for you to strap your bollocks back on and get back in the fray. (Yahtzee)This is a strident expression of the gendered expectations and response to Doom’s narratological refusal, which is here cast as approvingly masculine and opposed to a “feminine” desire for plot or narrative. It also feeds into a discourse which sees the game as one which demands skill, commitment, and an achievement orientation cast within an exclusivist ideology of “toxic meritocracy” (Paul).In addition to examining reception, approaches to understanding how Doom functions as a “Power Fantasy” or “badass” trope could take a variety of forms. It is tempting to undertake a detailed analysis of its design and gameplay, especially since these feed directly into considerations of player interaction. This could direct a critical focus towards gameplay design elements such as traversal and mobility, difficulty settings, “glory kills”, and cinematic techniques in the same vein as Habel and Kooyman’s analysis of survival horror video games in relation to horror cinema. However, Golding and van Deventer warn against a simplistic analysis of decontextualized gameplay (29-30), and there is a much more intriguing possibility hinted at by Harper’s notion of “Play Practice”.It is useful to analyse a theoretical engagement with a video game as a thought-experiment. But with the rise of gaming as spectacle, and particularly gaming as performance through “Let’s Play” livestreams (or video on demand) on platforms such as TwitchTV and YouTube, it becomes possible to analyse embodied performances of the gameplay of such video games. This kind of analysis allows the opportunity for a more nuanced understanding of how such games mediate gender identities. For Judith Butler, gender is not only performed, it is also performative:Because there is neither an “essence” that gender expresses or externalizes nor an objective ideal to which gender aspires, and because gender is not a fact, the various acts of gender create the idea of gender, and without those acts, there would be no gender at all. (214)Let’s Play videos—that show a player playing a game in real time with their commentary overlaying the on screen action—allow us to see the performative aspects of gameplay. Let’s Plays are a highly popular and developing form: they are not simple artefacts by any means, and can be understood as expressive works in their own right (Lee). They are complex and multifaceted, and while they do not necessarily provide direct insights into the player’s perception of their own identification, with sufficient analysis and unpacking they help us to explore both the construction and denaturalisation of gender identity. In this case, we follow Josef Nguyen’s analysis of Let’s Plays as essential for expression of player identity through performance, but instead focus on how some identity construction may narrow rather than expand the diversity range. T.L. Taylor also has a monograph forthcoming in 2018 titled Watch Me Play: Twitch and the Rise of Game Live Streaming, suggesting the time is ripe for such analysis.These performances are clear in ways we have already discussed: for example, both SplatterCat and Markiplier devote significant time to describing their formative experiences playing Doom as a background to their gameplay performance, while Wanderbots is more distanced. There is no doubt that these videos are popular: Markiplier, for example, has attracted nearly 5 million views of his Doom playthrough. If we see gameplay as automediation, though, these videos become useful artefacts for analysis of gendered performance through gameplay.When SplatterCat discovers the suit of armor for the game’s protagonist, Doom Guy, he half-jokingly remarks “let us be all of the Doom Guy that we can possibly be” (3:20). This is an aspirational mantra, a desire for enacting the game’s Power Fantasy. Markiplier speaks at length about his nostalgia for the game, specifically about how his father introduced him to Doom when he was a child, and he expresses hopes that he will again experience “Doom’s original super-fast pace and just pure unadulterated action; Doom Guy is a badass” (4:59). As the action picks up early into the game, Markiplier expresses the exhilaration and adrenaline that accompany performances of this fastpaced, highly mobile kind of gameplay, implying that he is becoming immersed in the character and, by performing Doom Guy, inhabiting the “badass” role and thus enacting a performance of Power Fantasy:Doom guy—and I hope I’m playing Doom guy himself—is just the embodiment of kickass. He destroys everything and he doesn’t give a fuck about what he breaks in the process. (8:45)This performance of gender through the skilled control of Doom Guy is, initially, unambiguously mediated as Power Fantasy: in control, highly skilled, suffused with Paul’s ‘toxic meritocracy. A similar sentiment is expressed in Wanderbots’ playthrough when the player-character dispenses with narrative/conversation by smashing a computer terminal: “Oh I like this guy already! Alright. Doom Guy does not give a shit. It’s like Wolf Blascowicz [sic], but like, plus plus” (Wanderbots). This is a reference to another iconic first-person shooter franchise, Wolfenstein, which also originated in the 1980s and has experienced a recent successful reboot, and which operates in a similar Power Fantasy mode. This close alignment between these two streamers’ performances suggests significant coherence in both genre and gameplay design and the ways in which players engage with the game as a gendered performative space.Nonetheless, there is no simple one-to-one relationship here—there is not enough evidence to argue that this kind of gameplay experience leads directly to the kind of untrammelled misogyny we see in game culture more broadly. While Gabbiadini et al. found evidence in an experimental study that a masculinist ideology combined with violent video game mechanics could lead to a lack of empathy for women and girls who are victims of violence, Ferguson and Donnellan dispute this finding based on poor methodology, arguing that there is no evidence for a causal relationship between gender, game type and lack of empathy for women and girls. This inconclusiveness in the research is mirrored by an ambiguity in the gendered performance of males playing through Doom, where the Power Fantasy is profoundly undercut in multiple ways.Wanderbots’ Doom playthrough is literally titled ‘I have no idea what I’m Dooming’ and he struggles with particular mechanics and relatively simple progression tools early in the game: this reads against masculinist stereotypes of superior and naturalised gameplay skill. Markiplier’s performance of the “badass” Doom Guy is undercut at various stages: in encountering the iconic challenge of the game, he mentions that “I am halfway decent… not that good at video games” (9:58), and on the verge of the protagonist’s death he admits “If I die this early into my first video I’m going to be very disappointed, so I’m going to have to kick it up a notch” (15:30). This suggests that rather than being an unproblematic and simple expression of male power in a fantasy video game world, the gameplay performances of Power Fantasy games are ambiguous and contested, and not always successfully performed via the avatar. They therefore demonstrate a “kind of gender performance [which] will enact and reveal the performativity of gender itself in a way that destabilizes the naturalized categories of identity and desire” (Butler 211). This cuts across the empowered performance of videogame mastery and physical dominance over the game world, and suggests that the automediation of gender identity through playing video games is a complex phenomenon urgently in need of further theorisation.ConclusionUltimately, this kind of analysis of the mediation of hegemonic gender identities is urgent for a cultural product as ubiquitous as video games. The hyper-empowered “badass” digital avatars of Power Fantasy video games can be expected to have some shaping effect on the identities of those who play them, evidenced by the gendered gameplay performance of Doom briefly explored here. This is by no means a simple or unproblematic process, though. Much further research is needed to test the methodological insights possible by using video performances of gameplay as explorations of the auto-mediation of gender identities through video games.ReferencesBaker, Meguey. “Problematizing Power Fantasy.” The Enemy 1.2 (2015). 18 Feb. 2018 <http://theenemyreader.org/problematizing-power-fantasy/>.Burrill, Derrick. Die Tryin’: Video Games, Masculinity, Culture. New York: Peter Lang, 2008.Butler, Judith. Gender Trouble. 10th ed. London: Routledge, 2002.Ferguson, Christopher, and Brent Donellan. “Are Associations between “Sexist” Video Games and Decreased Empathy toward Women Robust? A Reanalysis of Gabbiadini et al. 2016.” Journal of Youth and Adolescence 46.12 (2017): 2446–2459.Gabbiadini, Alessandro, Paolo Riva, Luca Andrighetto, Chiara Volpato, and Brad J. 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