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Journal articles on the topic 'Dramatists in fiction'
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1
Dr.Tahseen Bibi, Raj Muhammad. "Role of Younas Qayasi in Evolution of Drama on Peshawar Television." DARYAFT 14, no. 2 (December 30, 2022): 105–14. http://dx.doi.org/10.52015/daryaft.v14i2.279.
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Drama is a literary genre of fiction .It has dated back as the human history itself. It passed through various cultural boundaries. In Hindustan, various dramatists exhibited their skills and potential in it. When partition of Pakistan took place, the dramatists of KPK, especially showed great contributions. One of among them, Younas Qayasi is well known dramatist, who presented and staged not only Urdu but Pashto and Hindko dramas too. He earned great fame and name at national and International level.
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Huseynova, Sevda. "NIZAMI GANJAVI- THE MOST REINCARNATED LITERARY FIGURE IN AZERBAIJANI LITERATURE." InterConf, no. 15(117) (July 20, 2022): 124–28. http://dx.doi.org/10.51582/interconf.19-20.07.2022.012.
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The personality and creativity of Nizami Ganjavi, who began to be regularly studied and glorified since his time, has always been the center of attention of philosophers, poets, writers, and dramatists in all periods of literary history. In the article, the poems, stories, novels and plays written in Azerbaijani fiction from the Middle Ages to the present day about the genius thinker have been studied and analyzed.
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Monah, Dana. "Tattered Theatres: Fleeting Performances in Concentrationary Theatre." Thélème. Revista Complutense de Estudios Franceses 35, no. 1 (May 5, 2020): 63–70. http://dx.doi.org/10.5209/thel.66203.
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This paper explores the presence of dramatic fiction in plays dealing with imprisonment within the Nazi and Communist concentrationary systems. Whether we talk about performances belonging to the pre-concentrationary past, which ghost the prison or camp world, about plays that the prisoners tell in secret to their fellow inmates, or about embedded performances, all these spectacular forms are structured by the idea of absence (of the text, of the actor), and are to be seen as instrumental in getting away from the concentrationary experience and at the same time bearing witness to it. We will consider these embedded theatrical forms (which are based on repertoire plays or attempt to dramatize (pre)concentrationary realities) as devices meant to articulate trauma. We will analyse the dramatic strategies enabling dramatists to foreground an oblique approach to the concentrationary experience.
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Friedman, Sharon. "Revisioning the Woman's Part: Paula Vogel's ‘Desdemona’." New Theatre Quarterly 15, no. 2 (May 1999): 131–41. http://dx.doi.org/10.1017/s0266464x00012823.
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In Desdemona, Paula Vogel's revision of Shakespeare's Othello, we have a Desdemona who is Othello's worst nightmare, the transformation of lago's fiction into reality. Why has Paula Vogel created a Desdemona who, though ostensibly inside out, still appears to be Othello's projection? Sharon Friedman argues that although Paula Vogel's raucous Desdemona draws on many of the conventions of feminist revisioning, it marks an important shift in the feminist critical perspective in drama – as characterized by Lynda Hart, ‘from discovering and creating positive images of women … to analyzing and disrupting the ideological codes embedded in the inherited structures of dramatic representation’. In a deconstructive parody, Vogel dislodges the convention of the intimate scene between women in Shakespeare's theatre and expands it into an entire play. Decentering the tragic hero, she foregrounds and enacts the threat of female desire that incites the tragic action, and disrupts the familiar categories of virgin, whore, and faithful handmaiden by forging links with gender ideology and class status. The author, Sharon Friedman, is an Associate Professor in the Gallatin School of New York University, and the author of several articles on American women dramatists, including Susan Glaspell and Lorraine Hansberry.
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Balaji, K., and M. Narmadhaa. "Recrimination of Shikandi in Devdutt Pattanaik’s Shikhandi and Other Tales They Don't Tell You." Shanlax International Journal of English 11, no. 3 (June 1, 2023): 22–25. http://dx.doi.org/10.34293/english.v11i3.6211.
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Indian Writing has turned out to be a new form of Indian culture and voice in which idea converses regularly. Indian writers-poets, novelists, essayists, and dramatists have been making momentous and considerable contribution to world Literature since pre-Independence era, the past few years have witnessed a gigantic prospecting and thinking of Indian English writing in the global market. Sri Aurobindo stands like a huge oak spreading its branches over these two centuries. He is the first poet in Indian writing English who was given the re-interpretation of Myths. Tagore is the most eminent writer he translated many of his poems and plays into English who wrote probably the largest number of lyrics even attempted by any poet. The word “myth” is divided from the Greek word mythos, which simply means “story”. Mythology can refer either to the study of myths or to a body or a collection of myths. A myth by definition is “true” in that it. The same myth appears in various versions, varies with diverse traditions, modified by various Hindu traditions, regional beliefs and philosophical schools, over time. Devdutt Pattanaik is an Indian Mythologist who distinguishes between mythological fiction is very popular as it is fantasy rooted in familiar tradition tales. His books include Myth =Mithya: A Handbook of Hindu Mythology, Jaya: An illustrated Retelling of Mahabharata; Business Sutra: An Indian Approach to Management; Shikandi: And other Tales they Don’t Tell you; and so on.
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Kumar, Dr Santosh. "Tendulkar’s Kanyadaan: A Critical Representation of Caste, Class and Gender." International Journal for Research in Applied Science and Engineering Technology 11, no. 12 (December 31, 2023): 2294–96. http://dx.doi.org/10.22214/ijraset.2023.57833.
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Abstract: One can see the primary difference between man and woman on the basis of their gender. This biasness depicts the biased mentality of men and their dominating society. It is seen in Indian English Drama that Gender consciousness is one of the most burning and dominating issue that Indian dramatists aim to reflect in their plays. After six decades of post - colonial account of Indian English fiction, we get that a wide-ranging range of playwrights have emerged concentrating consciousness on a huge figure of marvelous concerns whether economic, political, spiritual, and social. These playwrights confronted three corresponding periods of human experience. As we know that there is a large number of playwrights who emerged and focused on the burning issues of India. Among those Vijay Dhondopant Tendulkar is such a playwrights who not only see the social evils but also depicted on literary canvas as it should be. Tendulkar (1928 - 2008) is a foremost and televisio’s prominent Indian playwright. He wrote for movie and television. Besides these, he is a legendary essayist, radical columnist, and social interpreter too, chiefly in Marathi language. As we have me ntioned earlie r t hat Tendulakar has experie nced the problem, need and necessities of Indian societ y. In thi s way it can’t be argued that the most of Tendulkar’s plays derived motivation from real - life happenings orsocial disorders which helped him to provide a clear estimate of the punitive genuineness
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Moorjani, Angela. "Beckett's Racinian Fictions: “Racine and the Modern Novel” Revisited." Samuel Beckett Today / Aujourd'hui 24, no. 1 (December 1, 2012): 41–56. http://dx.doi.org/10.1163/18757405-024001003.
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Reading Beckett's fictions through Racine's tragedies is facilitated by Beckett's own reading of the seventeenth-century dramatist through the lens of the modern novel. Using the notes of three students in Beckett's 1931 course at Trinity College Dublin and Jorge Luis Borges's view on the 'creation' of literary precursors, this essay examines the effect of Beckett's Racines on his own fiction.
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Zabotin, Daniil V. "In Search of Lost Realities: Alan Bennett’s “The Uncommon Reader’’ through Russian Reader’s Eyes." Literary Fact, no. 4 (30) (2023): 279–302. http://dx.doi.org/10.22455/2541-8297-2023-30-279-302.
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The article is dedicated to the critical reflection of the original and translated version of Alan Bennett’s “The Uncommon Reader,” whose main character is unnamed, but easily recognizable Queen Elizabeth II. Consequently, the entire different cultural context of this pseudo-biographical narrative creates certain difficulties for the translator, because she has to understand and reproduce with maximum accuracy what English speakers read without any hindrance. So, the main approach of the translation of “The Uncommon Reader” into Russian is considered to be a domesticating strategy, which means the need to adapt the story by simplifying or replacing (renaming) historical and everyday realities, when they are transplanted from one worldview to another: for example, “Alsatian — German Shepherd” or “Dame Commander — Court Lady.” It should be emphasized that the nomination problem plays an important role in Bennett’s work: while his characters dive into the depths of fiction, they seem to start to get know to themselves anew with the help of found “second names” that are foreign words of Greek (“opsimath”) and Latin (“amanuensis”) origin. The study of the author’s reading philosophy leads us to the conclusion about the uniqueness of the original title of the story, reflecting the idea of the ambivalent nature of the image of Her Royal Majesty. After a long journey from a novice reader to a writing reader, she still decided to enter the circle of the independent Republic of Letters, which blossoms with tens of names of novelists, poets, and dramatists of the present and the past on the pages of “The Uncommon Reader.” Such a literary union demanded from the translator to create a separate and well-thought commentary, which can be interpreted as a secondary attempt at “reverse translation” (A.V. Mikhailov).
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Closel, Régis Augustus Bar. "Fictional Remembrances of Sir Thomas More: Part I - The Sixteenth Century." Moreana 53 (Number 203-, no. 1-2 (June 2016): 171–204. http://dx.doi.org/10.3366/more.2016.53.1-2.8.
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This article focuses on how literary works such as plays in 16th–17th century England dealt with the fictional presence of Sir Thomas More. Among Tudor statesmen, Thomas More had a special appeal as a topic of thought during the Elizabethan–Jacobean period, quite apart from his opposition to the marriage which led to the reign of Queen Elizabeth. The Marian, Elizabethan and Jacobean periods cover the range of the selected works. They compose a heterogeneous and intriguing group in which every piece has its own particular way of remembering Thomas More. Six works are presented here: the dialogue Il Moro (1556), by Ellis Heywood; a late morality play, The Longer Thou Livest the More Fool Thou Art (1569), by William Wager; a novel, The Unfortunate Traveller (1594), by Thomas Nashe; and three plays, Cromwell (1602), by an unknown dramatist, Sir Thomas More (1600–1603/4), by five different dramatists, and Henry VIII (1613), by William Shakespeare and John Fletcher. Due to the scope of this research, the article is written in two parts. This part explores the first three sixteenth century fictional works by Wager, Heywood and Nashe.
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Bars Closel, Régis Augustus. "Fictional Remembrances of Sir Thomas More: Part II/II– Early Seventeenth Century." Moreana 53 (Number 205-, no. 3-4 (December 2016): 143–78. http://dx.doi.org/10.3366/more.2016.53.3-4.10.
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This article focuses on how artistic works such as plays and literature in 16th and 17th-century England dealt with the fictional presence of Sir Thomas More. Among Tudor statesmen, Thomas More had a special appeal as a topic of thought during the Elizabethan–Jacobean period, quite apart from his opposition to the marriage which led to the reign of Queen Elizabeth. The range of works considered covers the Marian, Elizabethan and Jacobean periods. These works compose a heterogeneous and intriguing group in which every piece has its own particular way of remembering Thomas More. Six works are presented here: the dialogue Il Moro (1556) by Ellis Heywood; a late morality play, The Longer Thou Livest the More Fool Thou Art (1569), by William Wager; a novel, The Unfortunate Traveller (1594), by Thomas Nashe; and three plays, Cromwell (1602), by an unknown dramatist, Sir Thomas More (1600–1603/4), by five different dramatists, and Henry VIII (1613), by William Shakespeare and John Fletcher. Due to the scope of this research, the article is written in two parts. This part explores the last three seventeenth-century fictional works by John Fletcher and Shakespeare, an anonymous play and the collaborative play by Anthony Munday, Henry Chettle, with additions by Thomas Heywood, Thomas Dekker and William Shakespeare.
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Fisher, Mark. "Visionary Television: World on a Wire and Artemis 81." Film Quarterly 64, no. 2 (2010): 58–63. http://dx.doi.org/10.1525/fq.2010.64.2.58.
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A review of two radical works of television science fiction: World on a Wire (1973), Rainer Werner Fassbinder's bleak exploration of reality and technological simulation, which is comparable to the fiction of Philip K. Dick; and Artemis 81 (1981), dramatist David Rudkin's eerie, expressionist Heideggerian fantasy.
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Morey, Peter. "Identifying with Terrorists: Reading and Writing Others In Sunjeev Sahota’s Ours Are the Streets." Studies in the Novel 56, no. 1 (March 2024): 41–56. http://dx.doi.org/10.1353/sdn.2024.a921058.
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Abstract: Sunjeev Sahota’s novel Ours Are the Streets tells the story of a young British Muslim man’s path to radicalization. It appears to be another fictional attempt to ‘get inside’ the terrorist mind. This essay argues, however, that the text dramatizes the pitfalls of empathic identification via a focalizing character whose mental state becomes unstable and his narrative increasingly unreliable. The protagonist’s uncontrolled Theory of Mind causes him to misrecognize others and their motives, even as he seeks solidarity. The reader too is led into an interpretative labyrinth which raises questions about the ethics of reading fiction and empathizing across cultural difference.
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Kudina, Ekaterina O. "To the creative history of Yuri Belyaev’s play Psisha." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (February 21, 2022): 72–77. http://dx.doi.org/10.18500/1817-7115-2022-22-1-72-77.
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The paper examines the creative history of the play Psisha by Yuri Belyaev – a theatre critic, fiction writer and dramatist of the Silver Age. While working on the article cycle A night at “The Opera House” about theatre history of the times of Catherine II, the critic researched historical sources: periodical, fiction, documents of the second half of the 18th – early 19th centuries. There Belyaev must have found the material for his early fictional experience – the historical short story Psisha. Among the characters of the story were a landowner – аn avid theatergoer, and the actors of his serf company. In this story the set of themes is defined, which the writer will develop further in his later works: the court and the serf theatres, the repertoire, the tragic fate of dependent actors. Later Belyaev addressed the theme of the serf theater as a dramatist and his artistic pursuits resulted in the play Psisha. The stage version had a great audience success in Moscow and St. Petersburg in the 1911–1912 theatrical season and was highly appreciated by theater observers in newspapers and journals. Judging by the reviews in the periodical press, the author of Psisha managed to strike the right balance between stylizations that became relevant during this period, the recreation of everyday scenes of the era and a sentimental psychological drama from the life of serf actors. Thus, it was possible to establish that Belyaev’s first works on the history of the Russian theater and his first literary works shaped the main themes and images of one of his most famous dramas.
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Quint, David. "The Strange and the Familiar in the Thousand and One Nights." Comparative Literature 73, no. 1 (March 1, 2021): 110–24. http://dx.doi.org/10.1215/00104124-8738906.
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Abstract This analysis of the structure and meaning of The Tale of the Hunchback, the most novelistic of the tales of the Thousand and One Nights, shows how the Nights stages the relationship of reader to fiction (the fictitious lives of others) as a power relationship and in terms of distance and familiarity. Through its juxtaposition of stories, the tale anatomizes fortunate and unfortunate human lives; it dramatizes the latter through the practical joke. The tale and its storyteller, Shahrazad, try to teach brotherhood and compassion for human weakness to a reader figured as an all-powerful Caliph-King who demands to be amused by the strange and who laughs at stories of the unfortunate. This reader’s power vis-à-vis the stories presented to him is above all to dismiss them as fictions that do not apply to him, as freakish as the deformed hunchback entertainer for whom the stories substitute within the tale. The tale and the larger Nights show how the estrangement that is the means of literary fiction can lie at cross-purposes with the ethical end of self-recognition and empathetic identification with others.
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O'Brien, Richard. "“Put not / Beyond the sphere of your activity”: The Fictional Afterlives of Ben Jonson." Ben Jonson Journal 23, no. 2 (November 2016): 169–91. http://dx.doi.org/10.3366/bjj.2016.0163.
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This article investigates the cultural assumptions which underpin five twentieth and twenty-first century fictional depictions of Ben Jonson. Despite the wealth of documentary evidence for Jonson's dramatic and fractious biography, its particular richness has rarely captured the imagination of contemporary authors. To account for the much-reduced presence Jonson occupies in the ongoing fictionalization of the English Renaissance, the author outlines the development of a pseudo-biographical narrative of Jonson's life which evolved over the eighteenth and nineteenth centuries in relation to the emerging narrative of Shakespeare's. Jonson came to be presented as pedantic, ponderous, and ultimately outclassed by the dramatist who was his main contemporary rival, whose early reputation he was instrumental in creating. Furthermore, this gradual diminution of Jonson's own complexities was directly linked to his success within his lifetime. Outliving Shakespeare and offering an alternative model for theatrical achievement, Jonson presented a threat which had to be neutralized in the service of a protective impulse towards Shakespeare's reputation as a unique genius. The article offers some early instances of semi-fictional anecdotes about Jonson and Shakespeare which present the two dramatists as interchangeable subjects. It then assesses at length more recent Jonson-characters in Brahms and Simon's No Bed for Bacon, Roland Emmerich's Anonymous, Edward Bond's Bingo, Rudyard Kipling's “Proofs of Holy Writ”, and Jude Morgan's The Secret Life of William Shakespeare in the light of the historical reframing of Jonson's life and temperament. Finally, it makes the case for Jonson's story as one particularly suited to our current cultural landscape.
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Russell, Richard Rankin. "Brian Friel’s Transformation from Short Fiction Writer to Dramatist." Comparative Drama 46, no. 4 (2012): 451–74. http://dx.doi.org/10.1353/cdr.2012.0038.
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Staveley, Helene. "Figuring Transition: Play, Performance, and Mimicry in Children’s Books by Thomas King, Mordecai Richler, and Margaret Atwood." Jeunesse: Young People, Texts, Cultures 5, no. 1 (June 2013): 84–107. http://dx.doi.org/10.3138/jeunesse.5.1.84.
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In Thomas King’s A Coyote Solstice Tale, Mordecai Richler’s Jacob Two-Two Meets the Hooded Fang, and Margaret Atwood’s Wandering Wenda and the Widow Wallop’s Wunderground Washery, the mimicry of the transitional characters is a platform for their satire. Mimicry is a neutral practice in and of itself and can be advocated as a model behaviour: the dictum to become the change one wants to see in the world suggests that, by imitating a not-yet-actual ideal, one can make that fiction reality. For Child, The Hooded Fang, and the Wizard/Widow, mimicry also dramatizes the intolerability of worlds that manipulate interpellative processes to reify power. The transitional figures in these three books work as models of the half-playful and half-perverse clinging to a way of life that pertains to a particular fictional world they endorse, reinforcing childhood as a desirable, dynamic, and powerful transitional state.
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Stockwell, Peter. "Schema Poetics and Speculative Cosmology." Language and Literature: International Journal of Stylistics 12, no. 3 (August 2003): 252–71. http://dx.doi.org/10.1177/09639470030123005.
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Speculative cosmology is a sub-genre of science fiction that particularly focuses on the difficulties for the deployment of existing knowledge in reading. This article assesses the usefulness of competing models of world-monitoring in order to arrive at a usable framework for discussing the particular issues in science fictional reading. It is suggested that schema theory, while containing many flaws in general, nevertheless offers an appropriate degree of delicacy for the exploration of sf. Schema poetics - the application of the theory to the literary context - is used to discuss speculative cosmology, with a focus on the work of the Australian sf writer Greg Egan. The analysis investigates the connection between stylistic form and schema operation, and proposes an explanation of `plausibility'. Specifically, sf tends to provide a readerly counterpart in the text, and thereby dramatizes schema refreshment as if it were mere schema accretion.
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Wärnlöf, Christofer. "The ‘Discovery’ of the Himba: The Politics of Ethnographic Film Making." Africa 70, no. 2 (May 2000): 175–91. http://dx.doi.org/10.3366/afr.2000.70.2.175.
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AbstractThis article is concerned with the way an African ethnic group is represented in the medium of television. It is argued, first, that, in the broad spectrum of programmes, ethnographic films will never be in the top rank. Nevertheless, as part of a general range appealing to an intellectual and academic audience, ethnographic films will be competing in this market. One solution is to let ethnographic films become more attractive through a closer resemblance to fictional films. But it creates a dilemma for an ethnographic film screened on television, as it must legitimise its position by differentiating itself from fiction through establishing a certain realism while at the same time employing fictional devices to dramatise ethnographic ‘stories’. This leads to distorted and sometimes racist undertones. The second issue concerns the ambitions of the film team. Their temporary role in the locality becomes political when, as inevitably happens, they favour, and are favoured by, one section of the local community in order to fulfil their mission of producing an ethnographic film. A split in the community is caused by such external forces and justified by the fact that we are all ‘living in a global village’.
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Hong-Mercier, Seok-Kyeong. "La question de reconstitution dans le docu-fiction historique. Une hybridation entre la vraisemblance et l’authenticité." Figures de l'Art. Revue d'études esthétiques 11, no. 1 (2006): 121–37. http://dx.doi.org/10.3406/fdart.2006.1405.
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Le docu-fiction s’inscrit dans la lignée du genre qui exploite la technique audiovisuelle de reconstitution dramatisée, qui remonte aux actualités cinématographiques voire aux illustrations dans la presse écrite du XIXe siècle. Les principes de la reconstitution sont poussés à l’extrême dans le docu-fiction, par l’ampleur de l’usage (beaucoup de docu-fiction est entièrement basé sur la reconstitution), par sa subtilité, et par son efficacité (l’audience est au rendez-vous). En dehors des querelles sur le devenir du genre documentaire, cet article traitera la question du genre sous l’inspiration de l’approche sémiopragmatique, pour montrer comment l’effet de réel se construit par les techniques fictionnelles et comment la vraisemblance fictionnelle s’approche de l’authenticité documentaire. Nous allons aborder cette réflexion en analysant les séquences reconstituées du docu-fiction historique.
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Hack, Daniel. "Introduction." Victorian Literature and Culture 47, no. 1 (December 7, 2018): 93–94. http://dx.doi.org/10.1017/s1060150318001328.
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Catherine Gallagher's importance as a scholar of nineteenth-century British culture and a historian and theorist of the novel makes the appearance of a new monograph by her an event for Victorianists (among others). This is true even when few of the materials she discusses are, strictly speaking, Victorian, as is the case with her new book, Telling It Like It Wasn't: The Counterfactual Imagination in History and Fiction. In Telling It Like It Wasn't, Gallagher traces the emergence and development of analytic and narrative discourses premised on counterfactual-historical hypotheses. As the author explains, these hypotheses are past-tense, conditional conjectures “pursued when the antecedent condition is known to be contrary to fact,” such as, to take her two major examples, What if the South won the Civil War? and What if the Nazis had invaded Britain? Bringing together what Gallagher calls “counterfactual histories,” which are more analytical than narrative and typically consider multiple unrealized possibilities; works of “alternate history,” which describe one continuous sequence of departures from the historical record but draw their dramatis personae exclusively from that record; and “the alternate-history novel, [which] invents not only alternative-historical trajectories but also fictional characters,” Telling It Like It Wasn't explores the distinctive uses and dynamic interactions of these forms over the past two centuries and considers their implications for our understanding of more conventional fiction and historiography.
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Akşehir-Uygur, Mahinur. "Crush Humanity One More Time: Martin McDonagh's The Pillowman in Žižekian Terms." New Theatre Quarterly 33, no. 4 (October 11, 2017): 360–70. http://dx.doi.org/10.1017/s0266464x17000495.
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Martin McDonagh's The Pillowman dramatizes the interrogation and torture of a horror fiction writer, Katurian, whose stories have been re-enacted in ‘real’ life without his knowledge. The audience gradually finds out that the murders are the crimes of Michal, Katurian's mentally retarded brother, who had been physically tortured by his parents in childhood, until Katurian murdered them. Upon Michal's confession, Katurian has to kill his brother to save him from the suffering and torture to come. Subsequently, it becomes clear that the two interrogators also suffer from the violent childhoods they re-enact with the violence they inflict on their suspects. It appears that all kinds of violence in the play are somehow justified, and treated in such a complex way that it becomes hard to draw boundaries between victims and perpetrators. The depiction of violence can, however, also be examined in dimensions that trigger and shape each other: the violence of the totalitarian state directed against the individual and the artist; domestic violence; the fictional violence found in Katurian's stories. Read through Slavoy Žižek's theory of violence, which also highlights the interconnected nature of its several kinds, The Pillowman can be observed to create a panoramic view of its subject. Mahinur Akşehir-Uygur is an Assistant Professor in the Department of English, Manisa Celal Bayar University in Manisa, Turkey. Her areas of interest are satirical literature, contemporary fiction, and women's literature.
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Pynn, Tom. "Topin, Ed., Oliver Stone'S U.S.A - Film, History, And Controversy." Teaching History: A Journal of Methods 26, no. 1 (April 1, 2001): 45–47. http://dx.doi.org/10.33043/th.26.1.45-47.
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Oliver Stone, more consistently than any other director, has presented moviegoers, film critics, and historians-amateur and professional-with radical and challenging perspectives on pivotal events and themes in post-World War II American history. Avowedly not a "cinematic historian," a point Stone makes several times in this edited volume of essays about his work, he is intent on setting the record straight about the role of history in his films. As an historical dramatist, the films, he writes, are "fiction . . . based on a combination of research, intuition, and my private conscience."
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Turner, Cass. "Disposable World(s): Race and Commerce in Defoe's Captain Singleton." Eighteenth Century 63, no. 3-4 (September 2022): 203–20. http://dx.doi.org/10.1353/ecy.2022.a927516.
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Abstract: In this essay, I examine Daniel Defoe's less well-known castaway novel, Captain Singleton (1720), in order to show how his fiction at once dramatizes and interrogates the view of colonial commerce he champions in his economic writings. I begin with the claim that Defoe presents a view of economic plenitude premised on the universal disposability of the world's resources—including persons, places, and things. According to this perspective, an object's utility derives from its capacity to be repositioned or repurposed in a new or different context. Captain Singleton translates this theory into fictional form, but in doing so it also reveals features of Defoe's thinking that were obscured in his economic writings. By juxtaposing acts of collective ingenuity and resourcefulness with acts of racialized enslavement, the novel suggests that each could be understood as operations of a commercial system that disregarded the meaning or integrity of individual lives and local sets of relations. I argue, finally, that the novel introduces a system of racialized enslavement whose function is to establish the relative worth of white humans—and their resistance to commercial disposability.
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Boccardi, Mariadele. "Postmodernism and the past : A romance." Recherches anglaises et nord-américaines 36, no. 1 (2003): 111–17. http://dx.doi.org/10.3406/ranam.2003.1673.
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British contemporary historical fiction is the genre that most closely, extensively and fruitfully explores the questions concerning the nature and scope of representation raised by postmodern historical and narrative theory. One interesting trait, common to the most speculative works of historical fiction published in the last fifteen years, is the adoption of Romance in all its modes — as a motif of the plot (the love story) and as a narrative mode (defining itself against the novel). Indeed Romance is the means by which the contemporary historical novel first dramatises and then investigates the representation of the past in the context of postmodernism. Lindsay Clarkes The Chymical Wedding (1989) and A. S. Byatt’s Possession (1990), both subtitled A Romance, epitomise the tendency described above. Their discussion in this paper will reveal not only the strategies by which these works deal with the intersection of postmodernism and representation, but also the Romantic elements inherent in postmodernism itself.
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Smith, Steve. "The Dramatism of Realism." Southwest Philosophy Review 40, no. 1 (2024): 255–63. http://dx.doi.org/10.5840/swphilreview202440128.
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Theoretical conceptions of realness can indicate what is fundamental or invariant in our experience of the world but are bound to miss a main point of realism due to the practical detachment of theoretical world modeling. The central sense in recognizing beings we encounter as real is accepting that we are or might be sharing existence with them, partnering with them in some significant way in the development of the world. This stance of engagement belongs to our modeling of how to live. The intentional sharing of existence makes for a dramatic situation, the sharers being viewed as interesting agents or quasi-agents who bear watching because the results of their combining actions might be important (possibly in a fictional world). Dramatizing life realistically is a basic expression of intentional vitality and is presupposed in highly serious forms of moral and aesthetic engagement (such as reverence and enchantment).
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Moss-Wellington, Wyatt, Ming-Yeh T. Rawnsley, and Yat Ming Loo. "Screening the Port City: Poetics and Promotions." Genre 55, no. 2 (July 1, 2022): 85–115. http://dx.doi.org/10.1215/00166928-10001336.
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Abstract This article contrasts a range of films from around the world that take place within port cities. It presents the port city film as a case of transnational “geographic imaginary” that dramatizes spaces of contact across lifeworlds. The authors find that there are two primary narrative modes in the port city film: a dominant mode in which gender, ethnic, class, and other identities bestowed by the geographic imaginary become inescapable, and a resistant or transformative mode in which characters are offered the opportunity to locate a new identity within a world of ephemeral relationships. Themes of criminality, poverty, and urban constituents struggling for personal agency, however, run counter to many city-branding narratives. The article concludes by comparing these fictional representations to a number of promotional and nonfictive examples of Chinese and British port city representations offering a very different vision of transnational contact—one that emphasizes a nation-building and growth “cleaned” of the human struggles for hybrid identity so vividly dramatized across port city fictions.
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Ostrowski, Marek. "Narration as the production of sense using the example of a music video of the song All by Myself by Celine Dion." Acta Universitatis Lodziensis. Folia Litteraria Polonica 58, no. 3 (September 30, 2020): 95–111. http://dx.doi.org/10.18778/1505-9057.58.06.
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The narration in the music video to Celine Dion’s song All By Myself is a linearly organised construct or composition equipped with features of logicality, which organises specific linguistic or image-based material. It constructs a fiction based on the principles of dramatism. If one assumes that a music video can be analysed as a system which produces meaning, then the production occurs mainly within two dimensions. Firstly, as fiction, and secondly, as narration. The sequential editing adds significance to the entire film. The specific connection points of individual scenes influence the interpretation of the images by viewers – they extract the significance of a portion of the music video. Surely this phenomenon could be defined as a production of sense.
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Vanden Berghe, Ruben. "Met het hoofd in de Cloud. Het digitale sublieme in de Vlaamse en Nederlandse roman." Handelingen - Koninklijke Zuid-Nederlandse Maatschappij voor Taal- en Letterkunde en Geschiedenis 73 (November 6, 2019): 155–72. http://dx.doi.org/10.21825/kzm.v73i0.17281.
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The ever-increasing availability of information, made possible by the Internet today, transforms the way people perceive and acquire knowledge. The following contribution maps the effects of this epistemological shift in the literary form of the novel, hypothesizing that the notion of the sublime helps us understand how literary fiction dramatizes this shift. The sublime aesthetic, which attempts to present the unpresentable, reflects the way the unfathomable scope of the Internet challenges the imagination. My narrative analysis draws on key concepts from cyberculture and media theory, such as virtuality, and links them to narrative categories such as setting, character and narration. In that way, my research will improve our understanding of how Dutch and Flemish literary fiction reflects upon the Internet and how the genre of the novel may change because of it.
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Abouddahab, Rédouane. "Hemingway: the posthumous fiction and Nabokov’s Lolita: A cross-textual reading." Ostrava Journal of English Philology 15, no. 1 (July 2023): 5–22. http://dx.doi.org/10.15452/ojoep.2023.15.0001.
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Some of Hemingway’s posthumous fiction engages in dynamic intertextual relations with Lolita. The study identifies some of these protean links but goes further, pointing out the structural and ethical differences between the two authors’ work, Nabokov’s being rooted in a logic of perversion, while Hemingway’s dramatizes what can be called perverse temptation combined with sublimation. The study, which is based on intertextuality but not limited to it, proves helpful for a better understanding of the tension generated between desire and non‑normative sexuality, thus engaging in a debate with the perversion‑oriented criticism that tends to situate Hemingway’s work in perverse clinical categories
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Goodstein, Elizabeth. "‘Behind the Poetic Fiction’: Freud, Schnitzler and Feminine Subjectivity." Psychoanalysis and History 6, no. 2 (July 2004): 201–23. http://dx.doi.org/10.3366/pah.2004.6.2.201.
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In 1922 Sigmund Freud wrote to fellow Viennese author and dramatist Arthur Schnitzler: ‘I believe I have avoided you out of a sort of fear of my double’. Through a series of reflections on this imagined doubling and its reception, this paper demonstrates that the ambivalent desire for his literary other attested by Freud's confession goes to the heart of both theoretical and historical questions regarding the nature of psychoanalysis. Bringing Schnitzler's resistance to Freud into conversation with attempts by psychoanalytically oriented literary scholars to affirm the Doppengängertum of the two men, it argues that not only psychoanalytic theories and modernist literature but also the tendency to identify the two must be treated as historical phenomena. Furthermore, the paper contends, Schnitzler's work stands in a more critical relationship to its Viennese milieu than Freud's: his examination of the vicissitudes of feminine desire in ‘Fräulein Else’ underlines the importance of what lies outside the oedipal narrative through which the case study of ‘Dora’ comes to be centered on the uncanny nexus of identification with and anxious flight from the other.
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May, Whitney S. "‘Powers of Their Own Which Mere “Modernity” Cannot Kill’: The Doppelgänger and Temporal Modernist Terror in Dracula." Gothic Studies 23, no. 1 (March 2021): 60–76. http://dx.doi.org/10.3366/gothic.2021.0078.
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Of the many haunting figures that Gothic fiction invokes, none so perfectly encapsulates the mode itself, in all its fantastic incursions of opposing forces and clashing sensibilities, as the doppelgänger. Indeed, this figure in Gothic literature helps to push the bounds of subjective tension so central to the genre. This article examines Bram Stoker's Dracula (1897) as an entry into the canon of doppelgänger fiction by complicating traditional readings of the central relationship between Count Dracula and Jonathan Harker. By revisiting the novel within the framework of a doppelgänger narrative, this article suggests that part of the real terror for Stoker's fin-de-siècle audience lies in the novel's timing. Located in the gap between the retreating Romantic and advancing high modern epochs, the novel dramatizes the apprehensions of a culture experiencing enormous technological and social upheaval. Specifically, it offers in its doubled pair a means to navigate those anxieties.
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Knapp, Jeffrey. "Selma and the Place of Fiction in Historical Films." Representations 142, no. 1 (2018): 91–123. http://dx.doi.org/10.1525/rep.2018.142.1.91.
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Every historical film must contend with the possibility that its viewers will be scandalized by its mixture of fact and fiction, but no recent historical film has faced such pressure to justify its hybrid nature as Selma has, in large part because no recent film has taken on so momentous and controversial a historical subject: the civil rights marches from Selma to Montgomery that led to the passage of the Voting Rights Act in 1965. The renewed urgency of the issues Selma dramatizes, along with the film’s own commitment to the “moral certainty” of the civil rights movement, helps explain why Selma wavers in a self-defense that links the fictionality of its historical reenactments to the purposely theatrical element of the marches themselves. But politics are not the only problem for fiction in Selma, and to show why, this essay compares Selma to an earlier historical film, The Westerner (1940), that openly flaunts the commercial nature of its fictionality.
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Cotugno, Marianne. "Awakening Ecological Consciousness in Conrad Richter's Ohio Trilogy." CEA Critic 85, no. 2 (July 2023): 119–33. http://dx.doi.org/10.1353/cea.2023.a901807.
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Abstract: The environmental concerns of Richter's fiction are the concerns of the early 20th century and many expressed in Richter's novels echo [Aldo] Leopold's own. Richter dramatizes the effects of deforestation, poor land management, predator control, and overhunting. Although the trilogy begins with a depiction of settlers' minds narrowing, as Leopold asserts, by the end, a transformation has taken place, not merely of the land but of Sayward, the trilogy's protagonist, who embraces a more ecological point of view. Ultimately, the trilogy argues for the need for ecological balance in our relationship with the natural world.
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Purssell, Andrew. "Empire and Modernism in Joseph Conrad’s ‘Karain: A Memory’." Review of English Studies 71, no. 299 (September 28, 2019): 355–69. http://dx.doi.org/10.1093/res/hgz111.
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Abstract Joseph Conrad’s ‘Karain: A Memory’ (1897) is not often cited as a landmark of literary modernism. Conrad’s Malay story appeared during the year in which The Nigger of the ‘Narcissus’ announced his arrival as an author with modernist ambitions. It also belongs to the same Blackwood’s period of his early career that produced arguably his most celebrated work, ‘Heart of Darkness’. Whereas these stories consensually exemplify Conrad’s modernism, ‘Karain’ tends to be construed as an early working-through of the contemporary popular influences that shaped his literary output. Yet, in a significant sense, it also dramatizes the colonial encounter that defined some of the conceptual contours of modernism. This essay explores the story’s composition, early transmission and reception, its self-conscious engagement with its popular cultural lineage, and Conrad’s parallel emergence as a writer of ‘challenging’ fiction. Its aim is not merely to recuperate ‘Karain’ as a work of early modernism, nor simply to re-evaluate Conrad’s story as a rehearsal, in terms of its interrogative relationship with imperialism, for some of his more overtly anti-colonialist fiction. Rather, its wider focus is on how Conrad’s story reflects upon the nature of empire and modernism as mutually sustaining enterprises, and, counter to the view of other modernist authors such as T. S. Eliot, how colonial fiction and modernist writing are not antithetical but rather interrelated literary practices.
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Reynolds, Matthew. "On Judging the Oxford-Weidenfeld Translation Prize." Translation and Literature 17, no. 1 (March 2008): 65–69. http://dx.doi.org/10.3366/e096813610800006x.
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The Oxford-Weidenfeld Translation Prize, funded by Lord Weidenfeld and by New College, The Queen's College, and St Anne's College in Oxford, is awarded annually. It is judged by a panel of three Oxford acadamics and/or translators, plus a guest judge from the wider literary world. The 2007 shortlist consisted of modern novels from France, Austria, and Norway; the selected poems of a contemporary German poet; three volumes of the writings of a Swiss dramatist, essayist, and story-writer; and a parallel-text version of Dante. The field of eligible books published during 2006 had of course been far larger, and was also wider-ranging, for the Oxford-Weidenfeld Translation Prize is for Englishings of prose fiction, poetry, and drama from living European languages. I have been a judge for the last four years now, and each time, when faced with the pile of eighty-odd entries, the multiple source languages (a few known to me, most not), the gamut of genres – from crime fiction and chick lit through Dumas (say) to Tolstoy and the poetry of Rilke or Kaplinski; not to mention the variety of translation challenges and ways of meeting them, from the exfoliation of a much-translated classic to the acute responsibility of introducing a writer for the first time, from the fairly straightforward demands of genre fiction to the peculiar meld of liberty and rigour required by the translation of poetry – each time, when faced with all this, I have asked: How on earth do you set about it? How can such incommensurables be compared?
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Zvelebil, K. V. "Rāvaṇa the Great in modern Tamil fiction." Journal of the Royal Asiatic Society of Great Britain & Ireland 120, no. 1 (January 1988): 126–34. http://dx.doi.org/10.1017/s0035869x00164184.
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The title of this brief essay is an echo of the title of a book once famous, nowadays almost forgotten: M. S. Purnalingam Pillai, Ravana the Great: King of Lanka (Munnirpallam, 1928). The same author, in his better-known Tamil Literature (1929) wrote: “The ten-faced and twenty-armed Ravana was apparently a very intelligent and valiant hero, a cultured and highly civilized ruler, knew the Vedas and was an expert musician. He took away Sita according to the Tamilian mode of warface, had her in the Asoka woods companioned by his own niece, and would not touch her unless she consented.” With this re-evaluation of the character of Rāvaṇa goes hand in hand a milder yet decisive re-evaluation of Rāma, of Rāma's warriors, of Vibhīṣaṇa, and other dramatis personae of the great story. Vibhīṣaṇa is portrayed as “the treacherous brother or deserter of Ravana, who desired to be King by hook or by crook”, the Aryans are described as haughty, cowardly, of low morality; Rāma “has his specks”, he lacks courage and falters in crises. In contrast, Rāvaṇa is not only “a physical and an intellectual giant” but also “great administrator and leader of men, … a man of his word”.
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Garcia, Loida L. "Survival and Sovereignty: Forces on the Rise in Aurelio Tolentino’s Novels." MANUSYA: Journal of Humanities 24, no. 2 (December 6, 2021): 227–45. http://dx.doi.org/10.1163/26659077-24020003.
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Abstract Aurelio Tolentino (1869–1915) is best remembered as the first nationalist dramatist who was in and out of prison because of his mutinous writings. His five extant novels manifest the sociopolitical struggle of early 20th-century Filipinos from the worldview of a versatile author. Tolentino’s fiction from 1909 to 1914 unveils how the colonized adapted ingrained, rigid, and conventional Spanish influences to the liberal and materialistic scheme imposed by the United States. A sociohistorical approach was used to investigate Tolentino’s narratives, revealing a people with a pliant but firm character brought about by their four centuries of subjugation. The literary method used in the study likewise illuminates the economic and literary struggles of the author as an ex-convict. The novels illustrate how the suppressed survived and yearned for sovereignty from the dual domination that beset the land.
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Chakraborty, Milan. "Exploring the Fictional Miss Shakespeare in Woolf’s “Shakespeare’s sister”." International Journal of English Literature and Social Sciences 8, no. 6 (2023): 100–101. http://dx.doi.org/10.22161/ijels.86.14.
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The concerned paper tries as much as it can to sketch a feministic preview of “Shakespeare’s sister”, included in the famous essay “A Room of Ones Own” by Virginia Woolf, one of the most dominant female writers of English literature by virtue of exploring the fundamental problems of women, familial as well as social, regarding the various means whereby they can thrive like greatest male poets, dramatists as well as novelists of the era. Throughout the essay, Wolf endeavours to singe root and branch the man-made form of the patriarchal society, which hinders the women to have a specific space for only themselves, just like the men, even to come out of the apparently predestined social barriers and to know their inner self in order to flourish their inner capabilities, by dint of the man-made social weapons like gender discrimination, disparity as well as discrepancy. That is why, Woolf suggests, we all know great writers, particularly male writers like Shakespeare, But we know nothing about any female writer, maybe as great as Shakespeare in English literature, particularly before the 18th century.
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CHURCHILL, CHRISTOPHER. "CAMUS AND THE THEATRE OF TERROR: ARTAUDIAN DRAMATURGY AND SETTLER SOCIETY IN THE WORKS OF ALBERT CAMUS." Modern Intellectual History 7, no. 1 (February 26, 2010): 93–121. http://dx.doi.org/10.1017/s147924430999028x.
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This essay examines Albert Camus's considerable debt to Antonin Artaud. Camus was not only a dramatist, but he also employed dramaturgical techniques in his more famous fiction and essays. In this regard, Artaud's ideas on social reconstitution through aesthetic terror were crucial to the development of many of Camus's most famous works, written both in Algeria and in France before and after World War II. This article considers the ways in which aesthetic–political techniques adapted from Artaud's Theatre of Cruelty were employed to challenge fascism in Algeria and France, by simultaneously summoning Algerian settler myths of exile, destitution and regeneration. Camus's considerable sophistication in the use of these techniques, and the colonial context in which they were initially applied, have often been missed by scholars and critics who have sought to unproblematically situate his works within debates about the Cold War and more recently the “War against Terror”.
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Page, Tony. "Friedrich Halm’s Earliest Extant, Melodramatic Novelle, St. Sylvesterabend: An Austrian Dramatist’s Hidden Beginnings as a Narrative Fiction Writer." Manusya: Journal of Humanities 23, no. 2 (August 5, 2020): 224–52. http://dx.doi.org/10.1163/26659077-02302005.
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To date there has been no scholarly exploration of the genesis and nature of Friedrich Halm’s earliest extant Novelle, St. Sylvesterabend (New Year’s Eve). The present research article attempts to fill that gap by determining the contested date of the story’s origin, establishing it as 1823. Furthermore, the article examines the tale’s simplicity of style, which is distinct from Halm’s later Kleist-influenced narratives. Furthermore, it analyzes the novel’s structural principle of parallels and contrasts, and its themes of monomania, secularised religiosity, and Christian caritas. The article also indicates how vicious criticism of the tale by Halm’s literary mentor, Michael Enk von der Burg, lacerated the young Halm’s self-confidence as a Novelle writer and crippled his novelistic creativity for decades to come.
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Gribben, Crawford. "Piety and Polemic in Evangelical Prophecy Fiction, 1995–2000." Studies in Church History 48 (2012): 478–503. http://dx.doi.org/10.1017/s0424208400001522.
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No one studying the impact of Evangelicalism’s most successful cultural products could doubt their mass-market appeal both within and beyond the ‘conservative revolution’ of contemporary America. With concerns to fashion the spirituality of their readers, the Left Behind novels (1995–2007) represent the ‘first outlines of a fully commercialised, fully mediatised Christian blockbuster culture’. The series dramatizes the end-time expectations of a popular evangelical system of eschatological thinking, known as dispensational pre-millennialism. This system maintains that Christ could return imminently to ‘rapture’ true believers to heaven; that this rapture will be followed by a catastrophic seven-year period known as the ‘Great Tribulation’, in which the Antichrist will rise to power to persecute those who, despite being ‘left behind’, have converted to evangelical faith; and that the tribulation will end with the ‘glorious appearing’ of Christ, the last judgement and the inauguration of a thousand-year reign of peace known as the millennium. Despite the complexity of its theology, the series has sold over sixty-five million copies since the publication of their eponymous debut novel in 1995, and has been identified as the best-selling fiction series in American literary history. After 1998, successive instalments in the series topped the New York Times best-seller lists. The seventh novel in the series, The Indwelling (2000), topped the best-seller lists of the New York Times, Publishers Weekly, Wall Street Journal and USA Today.
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Hussein, Ameer, and Qassim Serhan. "استراتيجيات اللامركزية والتهجين عند شعب يوليو عند نادين جورديمر." Kufa Journal of Arts 1, no. 59 (March 3, 2024): 283–304. http://dx.doi.org/10.36317/kja/2024/v1.i59.14724.
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The dichotomy of centre vs periphery is a central idea in postcolonial theory and an important model to describe the relationship between colonizer and colonized. The aim of this paper is to examine the dichotomy of centre and periphery in postcolonial theory and how this dialectic is manifested in July's People by the South African prolific writer Nadine Gordimer. The African novel is an important off shoot of postcolonial novel since it documents the native`s struggle to restore their lost identities. South African novel written by white authors is a unique version of this trend of fiction since it dramatizes the awkward ambivalent experience of white authors being torn between two opposing traditions : the European and the indigenous. The dichotomy of centre and periphery becomes subject to modification and revision in the newly born multicultural society especially after the apartheid.
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Ohagwam, Uchenna. "Despoliated Ecosystem and the Exploited Woman: Victims or Volunteers? A Reading of Kaine Agary’s Yellow-Yellow." Asian Education Studies 6, no. 1 (May 10, 2021): 22. http://dx.doi.org/10.20849/aes.v6i1.930.
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The horrendous situation in the Niger Delta region of Nigeria is gradually producing a rich and enduring literature, which paints a vivid picture of the trauma of living in that part of the world. Playwrights, poets, dramatists and literary critics have all lent their contributions in a determined effort at speaking up against the enormity of the environmental degradation in the region; a tragedy brought about by the insensitive exploitation of the region’s natural resources by multinational oil corporations. This study seeks to examine Kaine Agary’s perspective towards the problem as captured in her fictional work, Yellow-Yellow, with focus on the heavy toll it takes on the woman. The dilemma of being caught in the web of either a victim or a volunteer, compels the woman to either dependency or independence. Thus, the paper concludes by making a case for economic independence and argues that it is the surest security for women, especially, the Niger Delta woman.
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Popova, S., and V. Bilokon. "DYSTOPIAN VISION OF 2052 IN HENLEY’S “SIGNATURE”." Studia Philologica 2, no. 17 (2021): 86–92. http://dx.doi.org/10.28925/2311-2425.2021.1711.
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Modern drama tends to catch up with the representation of the dystopian alternative worlds much like the contemporary mass culture. Sci-fi and dystopian productions become popular onstage because the medical and technological breakthroughs occur so rapidly in our present-day life that the humanity fails to reflect them properly. There are the following main features pertaining to science fiction in drama, namely dystopian play: fantastical concepts in tune with the modern scientific theory; the illusion of authenticity via scientific methodology; creation of a fictional world on the basis of the factors and tendencies of wide public importance. The aim of this article is to study the generic features of sci-fi subgenre of dystopia on the material of Henley’s drama “Signature” (1990). The play written by the US woman dramatist introduces the world deprived of meaningful lives for its characters whose fake values drive them to grave consequences (death, loss of the beloved). This text for staging warns the audience about the devaluation of human life in favor of elusive success. Henley’s 2052 Hollywood is a dystopic space for rather emotionless characters (the T-Thorp brothers, L-Tip, the Reader), who understand their failures and losses when it is too late. The only exception is William, selfless and unafraid of predicaments. The fundamental for the Western civilization phenomenon of love is distorted and disregarded in favor of immediate satisfaction and addiction to fame. Like her predecessors in sci-fi Henley predicts a mass human alienation in not so distant future. Yet the open end of Boswell’s story somewhat decreases the horror of dystopia – there is a remote chance that after anagnorisis the protagonist will find his beloved and make peace with her even though for a very short time. Henley’s dystopia constructs the ambivalent vision of the future, charged with questions of cryonics, cloning, global digitalization, omnipresent euthanasia, environmentalism and feminism.
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Bradley Smith, Susan. "Absent Without Leave: A Travel Memoir of Strange Mourning." European Journal of Life Writing 2 (March 28, 2013): C21—C30. http://dx.doi.org/10.5463/ejlw.2.30.
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This creative non-fiction essay is from a book in progress, a parenting memoir called ‘Hunting Flowers’. The edge with this memoir is that is written honestly in the (guilty) voice of a female academic who has 'run away' from home for work far too often - and gets into too much trouble, both at home and away. It covers two decades, five children, four continents, a few husbands, and more universities than sensible in any one life. Absent Without Leave in particular uses the confessional voice to tells stories not only against the self, but against the larger dramatis persona, the institutions and people we work with and for. The main thematic concern - is it ethical, this hunt for success, when we absent ourselves form our children? - is swallowed by the constant feminist nag: is this the only way to do it?
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Fallik, Seth Wyatt, and Danielle Victory. "The temporal order of retrospective burglary and robbery criminal investigations: An exploratory ‘black box’ analysis." Police Journal: Theory, Practice and Principles 92, no. 1 (January 1, 2018): 3–22. http://dx.doi.org/10.1177/0032258x17751862.
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In the absence of empirical knowledge, public expectations of criminal investigations have been largely informed by fictional and/or dramatised depictions of detective work. To address this issue, incident report data from 243 retrospective burglary and robbery cases were paired with self-report surveys from 40 detectives who indicated the activities and the date they performed them for each of the cases they were assigned. The results suggest that the temporal order of retrospective burglary and robbery criminal investigations is more nuanced than previously acknowledged. Policy implications and areas of future research are discussed from these findings.
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Emery, Jacob. "Danilo Kiš's Metafictional Genealogies." Slavic and East European Journal 59, no. 3 (2015): 391–412. http://dx.doi.org/10.30851/59.3.003.
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This article describes the metaphorical identification of genealogy and language that is central to Danilo Kiš’s overarching project. In The Family Cycle and “The Encyclopedia of the Dead,” the documentation of history and the continuity of generations are worked into a single figurative system. This system has three major functions. First, children and texts complexly interact in the larger endeavor to preserve traces of the fragile past into an uncertain future. Second, the compulsion to identify with dead generations dramatizes the attractions and dangers inherent in fiction—overidentification with a character that overwhelms the reader’s or writer’s personality on the one hand, promiscuous dissolution into a world of metaphor on the other. Finally, genealogical figures form a metapoetic level that mirrors and focuses interpretation of the literary text. Notably, the dialectic between narrative and genealogy illuminates the hermeneutic circle in which finite texts appear as fragmented miniatures of some universal text, a book of nature or a “whole life.”
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Spielmann, Guy. "Academe vs. Hollywood: Sweet Liberty, or the Dilemmas of Historical Representation on Film." Lumen 40 (November 3, 2021): 165–81. http://dx.doi.org/10.7202/1083172ar.
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In Sweet Liberty, writer and director Alan Alda dramatizes the process of turning a scholarly study about the American Revolutionary War into a Hollywood film; he does so in ways that bring out the ethical complexities of adaptation, and eventually takes them to a meta-filmic level rarely seen in non-experimental cinema. While Sweet Liberty initially comes off as a light comedy with a predictable plot and ending, on closer inspection it compels us to reflect on the relationship between historical research and the popular entertainment industry. Although Alda appears to chastise the makers of period films who seek to capitalize on “history” without paying heed to historical facts, his professorial hero is not particularly critically minded either. Intentionally or not, Alda demonstrates that evaluating a mainstream history film cannot be reduced to a dichotomy between truth and fiction, and that research-based knowledge should also be viewed with a healthy skepticism.
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Walsh, Richard Gregg. "The Hollywood Gospel and its Scholars." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, no. 1 (June 5, 2010): 95–111. http://dx.doi.org/10.1558/post.v4i1.95.
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Stigmata, a 1999 film, dramatizes the recovery of a lost Jesus gospel by placing it within the story of the possession of an atheist beautician, who is also a stigmatic. The discovery of the reason for her possession and her exorcism leads ultimately to the publication of the lost, now found gospel. Stigmata cadges selections from the Gospel of Thomas together to create this gospel, which is a version of the Hollywood gospel hallowing the heroic individual above all things and empowering the fantasy of the subjective, expressive individual. This Hollywood gospel—unlike the Gospel of Thomas—is also scientific (or, at least, empirical and pragmatic), materialist, and democratic. It is, in short, a belated, peculiarly American form of gnosticism. Intriguingly, Stigmata’s drama also sheds some light on scholarship, revealing among other things the cultural embeddedness of scholarship and its interaction with popular fiction, particularly at the points of lost gospels and the notion of heroic individuals struggling against corrupt institutions.