Academic literature on the topic 'Dune (imaginary place), fiction'
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Journal articles on the topic "Dune (imaginary place), fiction"
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Kavut, İsmail Emre, and Elifnaz Olgaç. "The Technology of Fictional Space Designs in Dune Movies Investigation of Change in Time with Its Effect." Journal of Interior Design and Academy 3, no. 1 (July 19, 2023): 1–25. http://dx.doi.org/10.53463/inda.20230166.
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Cinema has been advancing continuously since its formation and intertwined with many disciplines. Technology also acts as a bridge between these disciplines, especially between science fiction cinema and architecture, the place of technology is undeniable. In this study, the change of fictional space designs over time with the effect of technology is discussed and how these developments affect cinema and fictional space designs are examined as "Dune 1984" and "Dune 2021" produced from the same novel from science fiction cinema. The interior spaces and structures in these films were determined and the subjects to be discussed were selected and turned into tables. A literature search of the subject was made, then the films were watched first, lastly interpreted by the interpreter according to the method of the research. The aim of the study is to be a source for studies on the relationship between science fiction and fictional spaces and the change of this relationship in the environment of technology.
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Glidden, David K. "The Elusiveness of Moral Recognition and the Imaginary Place of Fiction." Midwest Studies in Philosophy 16 (1991): 123–41. http://dx.doi.org/10.1111/j.1475-4975.1991.tb00234.x.
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Machado, Álvaro Manuel. "Culto do lúdico, heteronímia e espírito do lugar em Mário Cláudio / Worship of the playful, heteronomy and spirit of the place in Mario Cláudio." Revista do Centro de Estudos Portugueses 38, no. 59 (November 1, 2018): 11. http://dx.doi.org/10.17851/2359-0076.38.59.11-21.
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Resumo: Análise do romance Tiago Veiga – uma biografia, a partir de uma reflexão sobre o imaginário do espaço portuense e minhoto, concentrada predominantemente na metáfora da casa. Palavras-chave: imaginário; ficção portuguesa contemporânea; Mário Cláudio.Abstract: Analysis of the novel Tiago Veiga – a biography, based on the consideration of the imaginary that the regions of Porto and Minho carry, focused mainly on the metaphor of the house.Keywords: Imaginary; Contemporary Portuguese Fiction; Mario Claudio.
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Nilsson, Louise. "Mediating the North in Crime Fiction." Journal of World Literature 1, no. 4 (2016): 538–54. http://dx.doi.org/10.1163/24056480-00104007.
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The multifaceted idea of the north is deeply embedded in literary and visual culture. This culturally forged and globally disseminated idea embraces the narratives of fear, as well elements of the supernatural and fantastic, political dimensions or specific topographies. By departing from the Nordic Noir subgenre, a globally dispersed literary genre, this article investigates how the depiction of local and global place creates an imaginary, which is in turn bound up with a broader notion of the north as an ostensible “elsewhere.” The article argues that the Nordic Noir’s foreign allure and overwhelming success rests upon a culturally forged idea of the north, found worldwide in various cultural expressions such as myths, folklore, fairy tales, literature, and contemporary cinema and trails centuries back in cultural history worldwide.
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León, Angelo, and Fernanda Badilla. "After Hegel: A postmodern genealogy of historical fiction." Filozofija i drustvo 35, no. 2 (2024): 299–316. http://dx.doi.org/10.2298/fid2402299n.
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In this article, we analyze a possible form of the relationship between modernity and postmodernity by examining the transformation of the place of enunciation of criticism as a philosophical narrative and using it as a historical and philosophical criterion. To achieve this, we first focus on key moments in the critical discourse of modernity, and then analyze the role of Kantian criticism in the formation of a postmodern imaginary associated with the notions of useful fiction and linguistification. Finally, from a Hegelian perspective, we consider the validity of the idea of universal history and its connections to emancipatory narratives.
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Zaid, Ali. "The Camouflage of the Sacred in the Short Fiction of Hemingway." American, British and Canadian Studies Journal 21, no. 1 (January 1, 2014): 61–78. http://dx.doi.org/10.2478/abcsj-2013-0020.
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Abstract This essay examines the short fiction of Ernest Hemingway in the light of Mircea Eliade’s notion of the camouflage of the sacred and the larval survival of original spiritual meaning. A subterranean love pulsates beneath the terse dialogue of Hemingway’s characters whose inner life we glimpse only obliquely. In the short play (“Today Is Friday”) and four short stories (“The Killers,” “A Clean Well-Lighted Place,” “Old Man at the Bridge,” and “The Light of the World,” discussed here, light imagery, biblical allusions, and the figure of Christ, reveal a hidden imaginary universe. This sacral dimension has been largely overlooked by critics who dwell on the ostensible spiritual absence that characterizes Hemingway’s fiction.
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James, Susan. "Responding Emotionally to Fiction: A Spinozist Approach." Royal Institute of Philosophy Supplement 85 (July 2019): 195–210. http://dx.doi.org/10.1017/s1358246118000759.
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AbstractWithin contemporary analytical philosophy there continues to be a lively debate about the emotions we feel for fictional characters. How, for example, can we feel sad about Anna Karenina, despite knowing that she doesn't exist? I propose that we can get a clearer view of this issue by turning to Spinoza, who urges us to take a different approach to feelings of this kind. The ability to keep our emotions in line with our beliefs, he argues, is a complex skill. Rather than asking why we depart from it in the case of fictions, we need to begin by considering how we get it in the first place. Spinoza also considers the value of this skill. In his account, fictions function rather like Donald Winnicott's transitional objects. They enable us to negotiate the boundary between the real and the imaginary in a way that contributes to our philosophical understanding. These Spinozist proposals, I contend, suggest that the questions dominating current debate need to be reformulated.
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Jackson, Andrew J. H. "Conceptualising place in historical fact and creative fiction: rural communities and regional landscapes in Bernard Samuel Gilbert’s ‘Old England’ (c. 1910–1920)." Rural History 31, no. 2 (October 2020): 195–209. http://dx.doi.org/10.1017/s0956793319000359.
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Abstract The theme of place guides much exploration in rural history and local history. Attempts have been made to create definitions and typologies of place, but these have had to contend with the diverse, complex and dynamic realities of historical pattern and process, local and regional. Nonetheless, historians and those in other disciplines have evolved different approaches to the concept. This study considers how these can inform the investigation of places existing in historical fact in particular periods in the past, and can do similarly for those places located contemporaneously in fictional constructions. Reference is made to various academic writings on place, including by the local historian, David Dymond. The analysis takes the work of the author of fiction, Bernard Samuel Gilbert. Gilbert, although relatively obscure now, incorporated a feature of special note into his later literary output, and one meriting greater attention. This was his personalised, reflective and explicitly articulated approach to forming and expressing place. Moreover, Gilbert’s ‘Old England’, with its imaginary district of 'Bly', can be recognised as corresponding to landscapes and communities existing more broadly in the years up to and through the First World War, and with creations by other authors of regional fiction.
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Cogan, Michaëla. "Les imbéciles de Jerome Avenue." Cross-cultural studies review 3, no. 5-6 (April 22, 2023): 135–48. http://dx.doi.org/10.38003/ccsr.3.5-6.8.
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This article explores the specific role of heterotopia in a literary context as a place located in-between reality and fiction, specifically in the light of the autofictional play at work in Charyn’s writing. As both a spatial landmark and imaginary background of a reinvented world, the Bronx intersects both fact and creation. This subjective cartography brings Charyn to reposition different possible first persons along a complex spectrum. Like Jerome Avenue, which cuts Charyn’s former borough in half, the line separating history and story is not wholly uncrossable, but rather a threshold to an affective mode of speech based on idiosyncrasy.
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Krishnan, Madhu. "When is biography fiction? Life writing, epistemophilia, and the limits of genre in contemporary Kenyan writing." Journal of Commonwealth Literature 55, no. 3 (November 2, 2018): 361–75. http://dx.doi.org/10.1177/0021989418808836.
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In On the Postcolony, Achille Mbembe opens with the assertion that “[s]peaking rationally about Africa is not something that has ever come naturally”. In this article, I use Mbembe’s remarks as my starting point, using his observations around the place — or lack thereof — of “Africa” within a larger philosophical matrix predicated on Enlightenment-derived notions of knowledge, and applying it to three examples of auto/biographical life writing recently published by Kenyan authors: Billy Kahora’s The True Story of David Munyakei; Kwani Trust’s fifth issue of its flagship Kwani? journal, published under the auspices of the Concerned Kenyan Writers group; and Binyavanga Wainaina’s viral 2014 blog post, “I Am a Homosexual, Mum”, fashioned as a “lost chapter” from his 2011 memoir, One Day I Will Write About This Place. Through their manipulation of the forms and conventions of biographical writing and biofiction, I argue, these three texts challenge the precepts of reason and rationality which have accompanied the reception of African (here, Kenyan) writing within the field of the global literary marketplace, with significant implications for the larger place of the African continent within a global imaginary.
Dissertations / Theses on the topic "Dune (imaginary place), fiction"
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James, David. "The spatial imaginary of contemporary British fiction : place, perception, poetics." Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426265.
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Lasseter, Helen Theresa Wood Ralph C. "Fate, providence, and free will : clashing perspectives of world order in J. R. R. Tolkien's Middle-earth /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4845.
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Singh, Sanjana. "Messiahs and martyrs : religion in selected novels of Frank Herbert's Dune chronicles." Diss., 2012. http://hdl.handle.net/10500/11839.
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The focus of this dissertation is Frank Herbert‘s use of messiahs and martyrs in selected
novels of the Dune Chronicles. I make connections with Herbert‘s studies, inspirations and
background to his treatment of religion, establishing the translation of these ideas in the texts.
To identify and study every aspect of religion in the series is impossible; however, I will
include other features that I deem important to my understanding of the religious theme in
these texts. I intend to scrutinize these novels to find evidence of Herbert‘s claim that he
studied religion at great length. I will also observe Herbert‘s attitude to and engagement with
religion in the Dune ChroniclesEnglish Studies
M.A. (English Studies)
Books on the topic "Dune (imaginary place), fiction"
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Tim, O'Reilly, ed. The maker of Dune: Insights of a master of science fiction. New York: Berkley Books, 1987.
Find full textBook chapters on the topic "Dune (imaginary place), fiction"
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Manetti, Roberta. "I viaggi in un romanzo e i viaggi di un romanzo nel basso medioevo. Il caso del Joufroi de Poitiers." In Studi e saggi, 157–64. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-467-0.14.
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In the fiction of the Joufroi de Poitiers, the author, perhaps a native of eastern France, claims to have found his story near Montpellier. His journey is perhaps not imaginary as we have an indication of a place that carries a certain political value, in an era when the French Crown, after having concluded the anti-Albigensian crusade in the mid-thirteenth century, had taken possession of the Midi. Montpellier was likely a free zone for the production and circulation of works of anti-Capetian satire, such as the Occitan novel which goes under the modern title of Flamenca. In fact, composed in the entourage of James I of Aragon in Montpellier, the Flamenca is one of the probable sources of Joufroi de Poitiers.
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Arndt, Sonja, Amanda Belton, Thomas Cochrane, Sarah Healy, and David Gurr. "Speculating on Higher Education in 2041—Earthworms and Liminalities." In Rethinking Higher Education, 207–24. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-8951-3_13.
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AbstractWhat if… this chapter asks, might higher education be twenty years from now? This chapter speculates a future that takes place 20 years from now, a future that acknowledges the challenges of the present, as discussed at greater length in the earlier chapters. We take up speculative inquiry as a method to consider a future where the teens of 2021 bring their experience of living and learning during this pandemic time to the shaping and leadership of universities in 2041. Beginning with a what-if scenario of a reconceived higher education, we create a speculative fiction text—a letter from the future—around which we perform a diffractive reading (Barad, 2014). What this diffraction brings about is a higher education imaginary of activisms and revolts that result from current tensions and challenges in education and research. The imaginary does not predict the future but offers a critical lens through which to make sense of this present and the possible futures tied to it. In so doing, we suggest potentialities of practices like elevating decolonised ways of knowing and engaging geographical, human and nonhuman diversities in campuses across urban and remote areas. Traversing twenty years from now, the chapter speculates on higher education, spanning virtual and physical spaces for re-connection of research, learning and assessment with, in and through assemblies of diverse beings, human and otherwise. The chapter concludes with a codetta, which leaves the reader with a brief account of a speculative encounter with Socrabots as they prepare to enter the teaching profession in the 2040s.
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Engelhardt, Nina. "Conclusion: Modernism, Fiction and Mathematics." In Modernism, Fiction and Mathematics, 157–63. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474416238.003.0006.
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The conclusion summarises the varying ways in which the modernist and postmodernist fictions discussed in this book inform the notion of mathematical modernism. Based on the results of the study, the conclusion again argues for the need to account for the unique status of mathematics in the spectrum of the disciplines, particularly when the specific characteristics of mathematics gain attention with its modernist transformation. At the same time, mathematics becomes a necessary and fruitful concern of modernist studies, providing new insights on the roles of reason and imaginary concepts, as well as on modernist experimentation with literary form. This book’s examination of literary engagements with mathematics leads to questioning interpretations of modernism as mainly focused on negative aspects of modernisation and instrumental rationality. Fictions written in and about the period, as well as mathematical prose texts of the time, reconsider the foundations of reason and rediscover neglected aspects of rational domains, including, counter-intuitively, non-rational and imaginary dimensions. The conclusion emphasises that examining the place of mathematics leads to a more nuanced understanding of modernism’s complex engagement with its roots in the Enlightenment and its reassessment in postmodernism.
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James, Susan. "Responding Emotionally to Fiction." In Spinoza on Learning to Live Together, 73–84. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198713074.003.0006.
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Contemporary analytical philosophers ask why we respond emotionally to characters we believe to be fictional. Why, for example, do we grieve for Anna Karenina? To understand this problem it is helpful to turn to Spinoza, who argues that the ability to keep our emotions in line with our beliefs is a complex skill. Rather than asking why we depart from it in the case of fictions, we need to begin by considering how we acquire it in the first place. Spinoza also considers the value of this skill. In his account, fictions function rather like Winnicott’s transitional objects. They enable us to negotiate the boundary between the real and the imaginary in a way that contributes to our philosophical understanding and increases our capacity to live together.
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Erdoğan, Nevnihal. "Ben-Hur/1959." In Architecture in Cinema, 1–8. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010003.
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Ben-Hur has been filmed three times. The protagonist of the film, who was shot during the time of silent cinema in 1925, was Ramon Novarro, the great star of the era. The most memorable one, which won 11 Oscars and has an important place in cinema history, is the 1959 film by the master director William Wyler. This review focuses on the 1959 film, considered more successful due to its impressive, sincere, and convincing spatial setup.Judah Ben-Hur was a wealthy Jewish merchant prince, living in Jerusalem in 26 AD (early first century). What is told in the movie is the story of a large family who lived in Jerusalem when the cruel and imperious administration of the Roman Empire was ruling, and Jesus Christ was spreading his teachings. In this section, the construction of space that can form the common language of both disciplines in the cinema-architecture relationship, design, innovations and invention, inspiration for real-life, and beyond, the richness of imaginary fiction, ideas about different lives and worlds, art and aesthetics in space setup, and the similarities of cinema and architecture will be the topics of interest. Since the film occurs in the atmosphere of ancient cities such as Rome and Jerusalem, which were at the center of classical world civilization, it provides a suitable setting for conducting analyses in this field. The film presents a wide range of architectural facades within these rich themes. “Power and architecture,” “Faith and architecture,” and “Politics and architecture” are the main ones. The method of the article will be to explain the analysis of the Ben-Hur film over these themes. The influence of government power on shaping the city and its architecture is excellent. The ideologies, administrative approaches, and practices of the rulers of Rome and Jerusalem were created through monumental buildings that command, subjugate, and spiritually influence, and magnificent architectural works that oppress the ruled. Today, we often cannot show the ability to look at the texture and layers of cities from a historical perspective. However, a well-executed political-religious-architectural film can turn into a civilization narrative that reveals these issues in detail and history. That is what happened with Ben-Hur.
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Tanford, Charles. "In Praise of Water." In Ben Franklin Stilled the Waves, 174–83. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780192804945.003.0014.
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Abstract In the science fiction novel Dune, author Frank Herbert takes us to Arrakis, imaginary third planet of the pilot star Canopus. Arrakis has an atmosphere much like that of Earth, but almost no water, and Frank Herbert creates for it an astonishingly believable human culture, shaped by the ever-present need for water. There are plastic still suits to prevent the loss of even minute amounts of water from perspiration, nose filters to recapture the moisture from exhaled breath, dew precipitators to harvest whatever moisture may have condensed at night from the arid air. And there is a recurring ceremony, the awesome ritual of the taking of the waters from the dead.
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McDonagh, Josephine. "Walter Scott’s Long-Distance Fiction." In Literature in a Time of Migration, 39–69. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895752.003.0002.
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Innovations in novelistic form that appear at the end of the Napoleonic Wars do so in the context of a national discussion about colonial emigration, and an uprooting and dispersing of British people on a profound scale, that provoked a reimagining of global space. Poverty, unemployment, and security, both domestically and in the colonies, were concerns about which emigration was proposed as a possible solution. This helps to explain two influential formal innovations made by Walter Scott in Guy Mannering (1815). The first is the invention of a new geographical imaginary. The novel is distinctive for its international backstory that takes place in India outside the main temporal and geographical frames of the novel, as well as a mode of calibrating distance in relation to details of size and scale, and through manipulating levels of readerly attention. The second innovation is its eccentric character, the gypsy, Meg Merrilies, who specifically derives from these spatial concerns. Her character is especially topical as it draws on contemporary beliefs about gypsies, a displaced people thought to have originated in India, but who are also identified with Scottish peasants displaced during the Highland Clearances, and other indigenous displaced people. Through the character of Meg, the novel examines contemporary questions about property, place, and belonging, as well as race and indigeneity. Meg’s persistence in print culture through the next several decades, reimagined in theatrical renditions, poems, print commodities, and travel writings, turns her into a celebrity character, and constituent element of a migratory British culture.
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Ferguson, Rex. "Secretions." In Identification Practices in Twentieth-Century Fiction, 119–58. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198865568.003.0004.
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DNA profiling, in which individual being is identified by its cellular structures, was first developed by the geneticist Alec Jeffreys in the 1980s. That this source of identity also forms the instructions through which living organisms are generated has complicated profiling’s place in the cultural imaginary of the late twentieth century. So, while profiling actually deals only in non-coding regions of the genome—matter often referred to as ‘junk DNA’—the significance of DNA as a substance of forensic analysis, in the late twentieth century imaginary, is its resonance as the apparent blueprint of existence. The notable features that this blurring of concepts brings about include a conceptualization of identity as a mass of information; notions to do with codes and coding; the presence of the body in the fluids which spill beyond its bounds; and a sense of the body as an archive of heredity and primitivism. In writing specifically about genetic research, Richard Powers’s The Gold Bug Variations (1991) serves a dual function in this chapter, as both an explicatory document and thematic example. But the more substantive analysis is reserved for the work of J. G. Ballard which, from its science fiction origins in novels such as The Drowned World (1962), through the controversial era of Crash (1973), to its trilogy of autobiographical texts (Empire of the Sun (1984), The Kindness of Women (1991), and Miracles of Life (2008)) articulates a form of identity that has close, though often oblique, affinities with all the most prominent features of DNA profiling.
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Caughie, John. "Depicting Scotland: Scotland in Early Films." In Early Cinema in Scotland. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420341.003.0009.
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This chapter by John Caughie addresses both fiction and non-fiction films, dealing with scenics made by international companies, and with the ways in which Scotland was represented in international feature cinema. Particular attention is given to the mapping of scenics and their relation to eighteenth- and nineteenth-century travel literature. With regard to the feature film, it follows the traditions of Scott and romanticism, the movement in the 1920s towards Barrie and domestic melodrama, and the perennial return to the comic characters of Scottish music hall. The chapter addresses the question of how it came to be that a country without its own film industry nevertheless secured a place in the international cinematic imaginary.
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Baker, Timothy C. "Mapping Escape: Geography and Genre." In Scottish Writing After Devolution, edited by Marie-Odile Pittin-Hedon, Camille Manfredi, and Scott Hames, 123–40. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474486170.003.0007.
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Timothy Baker’s chapter approaches women’s fiction through their depiction of and connection with landscape, making use of Westphal’s theory on geocriticism, as well as Braidotti’s re-reading of Deleuze on maps, and his notion of nomadism. Focusing mainly on recent fiction by Laura Marney, Jeni Fagan, Linda Cracknell, Sarah Moss, but also crime novels by Karen Campbell, Denise Mina and Shona MacLean, Baker tackles the question of spatial identity, showing how the various authors create Gothic landscapes that defamiliarize the familiar, or use the generic codes of crime to reach a similar goal. The real and the imaginary therefore interact, with the map seen as a tool of interaction, a way to chart not a real, fixed place, but a network of possibilities.