Academic literature on the topic 'Eagles, fiction'
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Journal articles on the topic "Eagles, fiction"
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Neubauer, Łukasz. "‘The Eagles are coming!’: A Pneumatological Reinterpretation of the Old Germanic ‘Beasts of Battle’ Motif in the Works of J.R.R. Tolkien." Journal of Inklings Studies 11, no. 2 (October 2021): 169–92. http://dx.doi.org/10.3366/ink.2021.0113.
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J.R.R. Tolkien’s imagination is invariably abundant in all sorts of peoples, races, and other forms of intelligent life, including those whose prototypes could be encountered in the natural world and which found their way into Tolkien’s fiction with little alteration to their physical properties and only some modification of their often deep-rooted framework of cultural associations in Indo-European lore. This last group includes, amongst others, the Great Eagles of the Misty Mountains, Tolkien’s ‘dangerous machine’, whose two principal affiliations appear to be with, on the one hand, the pre-Christian beliefs of the Germanic peoples (via the so-called beasts of battle) and, on the other, the pneumatological soteriology of the Roman Catholic Church (via the eagle as a creative recasting of the evangelical ‘dove’). The present article is an attempt to demonstrate that these seemingly incompatible ingredients in fact came to be quite seamlessly unified in The Hobbit and, in particular, The Lord of the Rings, providing even more depth to the powerful Christian substratum of Tolkien’s fiction.
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Ripoll, Élodie. "Les chants des oiseaux dans les fables : topoï, types et savoirs zoologiques." Topiques, études satoriennes 6 (February 15, 2023): 1–16. http://dx.doi.org/10.7202/1096699ar.
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From the end of the 17th century, the rich bestiary of the fables offers an ideal field of exploration to test the hypothesis of the topics of sound. Among the many crows, storks, roosters, owls, pigeons, sparrows, eagles, peacocks, nightingales, most of them have a singular, recognisable, imitable voice. All or almost all of them are anthropomorphised, as well as speak and play a major role in fiction. This article seeks to address the following questions based on the fables of La Fontaine, Perrault, Furetière, Fénelon and Mme de Villedieu in addition to Philippe Desprez and Houdar de la Motte: are bird songs always treated according to aesthetic criteria or according to their effects on the audience? Are there any narrative topoi associated with the songs of birds, or even with the songs of certain birds? Or are birds rather character types with a specific song as a characteristic? What is the place of zoological knowledge in these representations?
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Cunnar, Eugene. "Alchemical Fiction and Political Transformation: The History of the Golden Eagle." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 16, no. 4 (January 2003): 10–24. http://dx.doi.org/10.1080/08957690309598474.
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Taylor, Antony. "‘At the Mercy of the German Eagle’." Critical Survey 32, no. 1-2 (June 1, 2020): 59–78. http://dx.doi.org/10.3167/cs.2019.112603.
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In the years before 1914 the novels of William Le Queux provided a catalyst for British debates about the economic, military and political failures of the empire and featured plots that embodied fears about new national and imperial rivals. For Le Queux, the capture of London was integral to German military occupation. Representative of the nation’s will to resist, or its inability to withstand attack, the vitality of London was always at issue in his novels. Drawing on contemporary fears about the capital and its decay, this article considers the moral panics about London and Londoners and their relationship to Britain’s martial decline reflected in his stories. Engaging with images of anarchist and foreign terrorism, and drawing on fears of covert espionage rings operating in government circles, this article probes the ways in which Le Queux’s fiction expressed concerns about London as a degenerate metropolis in the process of social and moral collapse.
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Volkova, T. N. "RECEPTIVE STRATEGIES OF Y. KLAVDIEV'S PLAY "THE YAKUZA DOGS"." Bulletin of Kemerovo State University, no. 2 (June 29, 2017): 184–88. http://dx.doi.org/10.21603/2078-8975-2017-2-184-188.
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The article discusses the play by contemporary playwright Yuri Klavdiev "TheYakuza Dogs." Here is a detailed (but not exhaustive) analysis of the cultural codes. According to the author of the study, the languages of animation, cinema, classical and fictional literature, computer games and eastern philosophy form in the play, a specific "dialect" addressed to its teenage reader. The article emphasizes that a reading teenager is different from a child-reader and an adult reader: their receptive capabilities are largely defined by puberty crisis. On the one hand, in fiction a teenager looks for dynamics and heroics, and, on the other hand, they are eager to face the social reality fierce with its innumerable conflicts. In the first case, the teenagers manifest themselves as a child-reader with their interest for action and the struggle between good and evil. In the second case, on the contrary, as an adult, since the ability to see the border that separates the tale from life belongs only to a well-formed reader.
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Casimir, Komenan. "Chinua Achebe’s Things Fall Apart: A Seminal Novel in African Literature." Studies in Linguistics and Literature 4, no. 3 (June 27, 2020): p55. http://dx.doi.org/10.22158/sll.v4n3p55.
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Achebe’s Things Fall Apart is an influential novel in African literature for three reasons. First, it is a novel meant to promote African culture; second, it is a narrative about where things went wrong with Africans; and third, it is a prose text which contributed to Achebe’s worldwide recognition. It contains Achebe’s rejection of the degrading representation of Africans by European writers, and fosters Africa’s traditional values and humanism. The excesses of Igbo customs led the protagonist to flagrant misuse of power. The novel’s scriptural innovations bring fame to Achebe who is considered as the “Asiwaju” (Leader) of African literature, the “founding father of African fiction”, or again the “Eagle on Iroko”.
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Zaitseva, Tatyana Ivanovna, and Olga Mikhailovna Maksimova. "Documentary fiction novellas by G. A. Khodyrev in the series “Our Heroes” of Udmurt book publishing." Philology. Issues of Theory and Practice 16, no. 9 (August 29, 2023): 2701–6. http://dx.doi.org/10.30853/phil20230420.
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The paper considers the works included in the series of military-patriotic books for young people “Our Heroes”. Founded in 1968, this series consists of books by Udmurt writers about fellow Udmurt heroes, the Great Patriotic War veterans. The documentary fiction novellas of the national writer of the republic G. A. Khodyrev “The Eagle: The Tale of Pyotr Babkin” (1969; co-author V. V. Golubev) and “Soldier Spyridon Strelkov” (1976) were among the most prominent books in the series. The aim of the study is to identify the ways of reality reflection in the Udmurt documentary fiction prose for children and adolescents that uses the human experience of war heroes as the material and document as the medium as exemplified in the creative work of Herman Alekseevich Khodyrev (1932-1995). Scientific novelty lies in the following: it is the first time that based on the material of G. A. Khodyrev’s novellas, the role and place of the documentary-factual principle in Udmurt prose for children and adolescents were examined, the features of the aesthetic assimilation of the fact as the most important part of the poetics of a work were determined. The results of the study suggest that in the Udmurt children’s literature of the late 1960s – mid-1980s, documentary fiction works appear in which the image of a real hero is recreated through the use of the authentic facts and human fates of the Great Patriotic War period. G. A. Khodyrev’s novellas published in the series “Our Heroes” are characterised by the fact that the author managed to show the synthesis of universal national heroism and the manifestation of the individual human spirit in war. In his prose, such qualities of the “series” as a clear image of a real young hero’s formation against the background of specific historical events, the appeal to children’s perception through the memories technique, the lyrical descriptions of the nature of the native land, the author’s focus on activating the educational role of literature, the transformation of dry “newspaper” language into vivid, imaginative artistic speech are manifested.
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Rozi, Romdhi Fatkhur, and Renta Vulkanita Hasan. "PARA HARIMAU YANG MENOLAK PUNAH: ESTETIKA DOKUMENTER TELEVISI DI ERA PASCAREFORMASI." Journal of Urban Society's Arts 5, no. 1 (December 31, 2018): 49–57. http://dx.doi.org/10.24821/jousa.v5i1.2195.
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ABSTRAKPara Harimau Yang Menolak Punah(Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) merupakan judul dokumenter televisi produksi Eagle Institutedengan ciri filmis berupa paduan antara gambar dan tuturan (wawancara). Dokumenter ini merupakan objek material yang menarik untuk diteliti dalam konteks kontinuitas dan perubahan estetika, selama era pasca reformasi dengan zaman Orde Baru sebagai pembanding. Jika pada masa orde baru, kampanye pelestarian lingkungan melalui media dokumenter notabene diproduksi oleh pemerintah melalui estetika sinematik yang bersifat propagandis, maka saat ini dokumenter produksi Eagle Institutejustru menggunakan estetika sinematik yang kritis sebagai konter bagi pemerintah. Fakta dan fiksi (faksi) menjadi istilah yang digunakan dalam penelitian ini sebagai bentuk kontinuitas dan perubahan dokumenter televisi Indonesia. Alasan pemilihan istilah ini adalah dunia fenomenal dalam banyak kasus, seperti yang terlihat dalam dokumenter, seakan berbeda dari "dunia nyata", meskipun dalam kenyataannya rekaman itu berasal dari “dunia nyata/realitas”. Penelitian ini menggunakan pendekatan film kognitif untuk mengamati sejauh mana Faksi beroperasi sebagai media kritik yang secara estetis merangkai dokumenter tersebut. Struktur mental digunakan untuk menjelaskan Faksi melalui petunjuk filmis hingga diperoleh kesimpulan tentang kritik yang ingin disampaikan melalui dokumenter. ABSTRACTPara Harimau Yang Menolak Punah (Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) is the title of a television documentary produced by Eagle Institute. The documentary has characters that specifically contains of expository shots. This documentary is an interesting material object to be examined in the context of continuity and aesthetic change, during the post-reform era with the New Order era as a comparison. During the new order era, environmental conservation campaigns through documentary media were produced by the government through propagandist cinematic aesthetics. Whereas, the post-reform documentary produced by Eagle Institute actually uses a critical cinematic aesthetic as a counter for the government. Fact and fiction (faction) became the term used in this study as a form of continuity and change of Indonesia documentary. The reason for choosing this term is the phenomenal world in many cases, as seen in the documentary, as though it were different from the "real world", even though in reality it came from "the real world". This study uses a cognitive film approach to observe the extent to which the Faction operates as a criticism medium which aesthetically assembles the documentary. The mental structure is used to explain the Faction through filmic clues to the conclusion of the criticism that the documentary wishes to convey.
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Olsen, Pelle Valentin. "Cruising Baghdad." Journal of Middle East Women's Studies 14, no. 1 (March 1, 2018): 25–44. http://dx.doi.org/10.1215/15525864-4296997.
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AbstractThis article uses a queer lens to examine two short stories by the Iraqi communist, teacher, and prose writer Dhu al-Nun Ayyub (1908–88), “The Eagles’ Anthem” and “How I Found a Guy,” published in his collection Sadiqi (1938). Scholars have avoided analysis of the homoerotic and heterotopic aspects of Ayyub’s writings, even if they mention his depictions of physical attraction between men. Rather than read these fictional texts as sociological studies of sexual sensibilities, the article assumes that they tapped into and reflected psychological and social dynamics in interwar Baghdad. The Ayyub stories, which render homoerotic masculine sexualities as commonplace and a positive aspect of city spaces, are thus distinguished from most Iraqi writings during this period. The stories stage homoeroticism and love between men as democratic critique and affirmation of heterogeneity and vitality in a nationalist, militarist, and heteronormalizing setting that increasingly associated homosexuality with moral dissolution and backwardness.
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Nikitenko, E. L. "Modern Iranian fiction in the Soviet Union: Translation and representation." Shagi / Steps 10, no. 1 (2024): 107–24. http://dx.doi.org/10.22394/2412-9410-2024-10-1-107-124.
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During the Soviet era, the works of 55 contemporary Iranian authors were translated into Russian and published in the Soviet Union. Prefaces and afterwords, usually written by Iran scholars, provided the Soviet reading audience with a paradigm for perceiving the translated novels and short stories. This paper aims to offer an analytical survey of the history of the translation of modern Iranian fiction into Russian and to trace the major trends in the representation of the translated works. The thematic range of translated works correlated with the domestic political agenda and the changes in Soviet-Iranian relations, as well as with the current state of Soviet Iranian Studies. The influence of personal tastes and connections of certain Iran scholars engaged in the process of translation can also be detected. Generally, the translations of contemporary literature of Iran were to demonstrate that Iranian intellectuals were aware of the flaws of their society, and eager to choose the more humanistic values of the socialist countries. Before World War II, the translators were mainly interested in the socio-political aspect of the works. After the war and before the thaw in Soviet-Iranian relations, translators focused mainly on social satire. In the 1960s – early 1980s, many works of the most prominent Iranian writers of the period were translated into Russian. In the early 1980s, these translations were viewed as a means of understanding the reasons for the Iranian upheaval. The novels and short stories of Iranian modernists, as well as other ideologically inappropriate works, remained untranslated.
Dissertations / Theses on the topic "Eagles, fiction"
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Goebel, Luke B. "The Adventures of Eagle Feather: A Collection of Stories." 2010. https://scholarworks.umass.edu/theses/530.
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Luke Goebel wrote this collection of fiction in his final year enrolled at the M.F.A. Program for Poets and Writers at the University of Massachusetts Amherst. These stories were wrought after studying with Sam Michel, Noy Holland, as well as other faculty members at UMass Amherst, and after a summer of study with Gordon Lish. The themes that recur throughout these stories are: fathers, America, Bald Eagles, feathers, Native American mythology and legend (obsession with Native Culture), as well as sex and sexual awakening/revulsion, and, of course, the road.
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Miles, John Douglas. "Not corn pollen or eagle feathers Native American stereotypes and identity in Sherman Alexie's fiction /." 2004. http://www.lib.ncsu.edu/theses/available/etd-03162004-173100/unrestricted/etd.pdf.
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Honey, Emily A. "From spiritual guides to eager consumers: American girls' series fiction, 1865–1930." 2010. https://scholarworks.umass.edu/dissertations/AAI3409591.
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This dissertation argues that girls' series fiction played a key role in the cultural discourse about girlhood from the late nineteenth century through the early twentieth century. Over the course of sixty-five years, the desirability of piety and community activism for girls slowly shifted to an emphasis on the empowering possibilities of responsible consumption. Chapter One (the introduction) discusses the difficulty of defining adolescence in the postbellum period and its slow evolution into a distinct life phase and consumer category. Chapter Two examines the ways in which reading and religion were intertwined for girls and how the depictions of postbellum benevolence and reform organizations offered girls a path to personal agency that still fell within "acceptable" social behavior. Chapter Three examines the Little Women, Elsie Dinsmore, and Chautauqua Girls series and argues that postbellum series modeled a proto-New Womanhood that was based first on individual acts of charity, next on overlapping networks of benevolence and reform societies, and finally on political and social reform organizations that aimed to create national change. Series heroines take advantage of ix their social status as pious individuals to assist the poor in their communities and to extend their moral reach. Chapter Four begins to detail the shift from postbellum activism to consumerism as the prevalent ideology for girls by examining Edward Stratemeyer‘s innovations in the series book market. Stratemeyer combined the traditional series format with production techniques borrowed from story paper and dime novel publishers. He was also one of the first to recognize adolescents as a distinct market group with money to spend. Finally, Chapter Five examines the Patty Fairfield, Grace Harlowe, and Outdoor Girls series for the ways in which they communicate both excitement and anxiety about the new culture of consumption. Girl heroines exercise agency as consumers and develop individuality through their purchases, gaining a considerable amount of individual autonomy while they lose some of their status as spiritual leaders. Girl heroines learn to be responsible consumers and enjoy the pleasures of individual consumption, but series authors also warn against desiring money and material goods simply for their own sake.
Books on the topic "Eagles, fiction"
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Sinclair, C. R. Elvis A. Eagle: A magical adventure. San Francisco: Scribe Press, 1996.
Find full textBook chapters on the topic "Eagles, fiction"
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Brown, Meg H. "The Reception of Spanish-American Fiction in Germany:." In The Lion and the Eagle, 457–66. Berghahn Books, 1999. http://dx.doi.org/10.2307/jj.7079948.26.
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"EAGLE AND THE MORALITY OF VISUAL NARRATIVES." In Visualisation in Popular Fiction 1860-1960, 157–78. Routledge, 2005. http://dx.doi.org/10.4324/9780203992937-13.
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Langer, Lawrence L. "Fictional Facts and Factual Fictions: History in Holocaust Literature." In Admitting the Holocaust, 75–87. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195093575.003.0008.
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Abstract I call this essay fictional facts and factual fictions in order to suggest a symbiotic kinship between actual and imaginative truth in the literature of the Holocaust. One of the ‘ . many tasks of Holocaust criticism is to clarify the complex bond, in the minds of both author and audience, linking the oppressions of history to the impressers of art. Normally, the artist is free, and indeed expected, to manipulate reality in any way his vision sees fit. The imagination seizes experience, drops it into its crucible, allows it to ferment, and offers the results to a tolerant and often eager public.
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Nelson, Claudia, and Anne Morey. "History is a Palimpsest 2." In Topologies of the Classical World in Children's Fiction, 55–93. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198846031.003.0003.
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This chapter explores a further set of palimpsestic texts, E. Nesbit’s fantasy The Enchanted Castle (1907) and five historical novels: Caroline Dale Snedeker’s Theras and His Town (1924), The Forgotten Daughter (1933), and The White Isle (1940); Elizabeth George Speare’s The Bronze Bow (1961); and Rosemary Sutcliff’s The Eagle of the Ninth (1954). It is argued that these texts emphasize family as a mechanism for representing both disparate experiences between parents and children and continuity over time, in keeping with the topological resources of the palimpsest figure. Palimpsestic texts are fundamentally about a maturing or an aging that the child has not yet experienced, and that maturation is sometimes represented as a kind of inevitable damage or loss to both place and person. Indeed, a dominant facet of this set of palimpsestic texts is an analogy between damage to the landscape that the characters inhabit and damage to the human body. Methodologically, these works are examined with the aid of critics who consider the representation and cultivation of empathy in fiction.
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Attebery, Brian. "Realism and the Structures of Fantasy." In Fantasy, 25—C2.P89. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192856234.003.0003.
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Abstract When we look at realism through the lens of fantasy rather than as a contrast with it, its constructed nature becomes more evident. The notion of what is realistic changes continually, but it is generally restricted to stories that are not merely possible but probable. What we consider to be realistic narratives are those we recognize from our previous experience of fiction, which also means stories that are in accord with ideological norms. Looking at the work of children’s writers who cross between fantastic and realistic modes, such as Edward Eager and Elizabeth Enright, we see that theirs is a consciously arranged version of realism closely related to their understanding of fantasy. Enright referred to this as “edited reality”; Eager called it “daily magic.”
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Gratzer, Walter. "The Protean Elemen T: Carbon in New Guises." In Giant Molecules, 95–104. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199550029.003.0005.
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Abstract Whether anything made of only the atoms of a single element can decently be classed as a polymer is a question fit for pedants. But new forms of this most remarkable of elements, discovered in the past two decades or so, have opened new vistas to the eager gaze of chemists and physicists. They are, moreover, finding practical applications of a kind which would have seemed closer to science fiction than science only a few years ago. So all this excitement can scarcely be disregarded here.
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Knopf, Christina M. "Zombamas, Sopapillas, Dark Horses, and Other Politicians of Color." In Politics in the Gutters, 150–67. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834225.003.0009.
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American comics culture and political culture are not only traditionally masculine realms, but they are also traditionally White realms. And yet in 2008 Barack Obama, a Black man, took both by storm. Chapter Nine discusses the politician-of-color, both real and fictional, in comic books, analyzing how the Whiteness of the presidency interacts with the Whiteness of the superhero genre when the protagonist is not White. The chapter considers some of Obama’s many comic book appearances and cameos, as well as the non-White presidencies featured in Treasure Chest, Saucer State, Prez, and Eagle, looking at the politics and stereotypes of race.
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Lefkowitz, Mary R. "The Poet as Hero." In First-Person Fictions: Pindar’s Poetic ‘I’, 111–26. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198146865.003.0004.
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Abstract The old proverb πολλα ψεν´δονται αοιδοí (‘poets tell a lot of lies’) can still more accurately be applied to their biographers. Even the more plausible and psychologically tempting details in the lives of ancient literary figures derive from these authors’ fictional works, poems, and dramas, and not from the kind of source material biographers use today, letters, documents, eyewitness testimony. Critics and readers eager to establish some historical correlation between any ancient poet’s life and his work should expect to be disappointed. But even if the ancient Hves are useless to the historian or critic trying to explain what in Euripides’ experience compelled him to write about Medea, these stories are of interest to mythologists. If we stop being angry with the Lives for failing to be historical, and look at them rather as myths or fairy tales, some informative patterns begin to emerge.
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Hamer, Mary. "Mary Butts, Mothers, and War." In Women’s Fiction and the Great War, 219–40. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198182832.003.0011.
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Abstract What kind of woman calls her own red hair scarlet? One who was not shy of the limelight, by all accounts. Asking us to look at her, even before she invites us to look with her, to join her in thinking again about the question of women, the voice of Mary Butts echoes imperiously still today. A brilliant, even ferocious intelligence, a demanding voice: there are no anodyne terms to present her in. And if you look to find her among her friends, you will not find them organizing to work together for the vote or exploring the extended options opened to women by the war. It is in the memories of men that the sense of her as a person survived, a big eager lawless redhead, on the lookout for excitement and parties. ‘Paris was a dream. We didn’t go to bed for a week and spent all our money on such binges! The last thing I remember was dancing solely supporting myself by the lobes of Cedric Morris’ ears,’ she wrote to Douglas Goldring. She is the hardest figure to recruit for any cause. In her own person she throws the regular terms of enquiry into disarray. Mary Butts was a woman who hated her own mother and though she gave birth to a daughter, Camilla, did not bring the child up herself. No one could say she was not a difficult woman, in almost any sense you care to name. When Patrick Wright brought her writing back to public attention in 1985, it was primarily to expose its enthusiastic rhetoric of blood and race.
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Cull, Nicholas John. "War Comes to America: the road to pearl harbor,augest to December 1941,." In Selling War, 154–88. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195085662.003.0007.
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Abstract Hope added Caught in the Draft. Even Walt Disney injected a hint of belligerence into Dumbo. In the film’s closing moments, the baby elephant’s giant ears inspire a breakthrough in military aviation: “Dum bombers for our defense!” Of all Britain’s allies in Hollywood, Walter Wanger remained the most enthusiastic. But Britain could not always repay his devotion. Hitchcock recalled Sidney Bernstein gently explaining to Wanger that he could not be given exclusive film rights to the Nazi invasion of Britain.115 The year 1941 brought a more serious strain on the Mol’s romance with Wanger. Inspired by London Can Take It, Wanger proposed that he and the MoI cooperate to produce a documentary-feature on the newly formed Eagle Squadron. Wanger hoped that this would be “the greatest picture of aviation ever produced,” but instead it showed the limits to which the documentary genre was subject during wartime. Work on Wanger’s Eagle Squadron started well. The MoI agreed to co operate so long as the film did not overlap with A Yank in the RAF. Wanger hired Harry Watt of the Crown Film Unit to direct and C. S. Forrester of BIS to write the fictional continuity scenes. By the summer of 1941, his production staff were en route for England. Then the problems began.