Academic literature on the topic 'Eagles in fiction'
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Journal articles on the topic "Eagles in fiction"
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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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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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Bussières, Marie-Pierre. "From classical Greece to science fiction: Heroic aesthetics and the popularity of the Eagle pilot Alan Carter in Space: 1999." Journal of Popular Television 3, no. 1 (April 1, 2015): 3–20. http://dx.doi.org/10.1386/jptv.3.1.3_1.
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Pearce, Sharyn. "The evolution of the Queensland kid: Changing literary representations of Queensland children in children's and adolescent fiction." Queensland Review 3, no. 2 (July 1996): 59–75. http://dx.doi.org/10.1017/s1321816600006449.
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Since the education explosion in mid-nineteenth century England, when astute publishers began to capitalise upon a newly created and burgeoning market, Australia has always featured prominently in fiction aimed at children and adolescents. Those British children who initially made up the bulk of the reading audience for books set in Australia were eager to read episodic stories set in exciting countries far from home, and an Australian setting offered a glamorous backdrop for tales of high adventure. Moreover, it appears that while the nineteenth-century British reading public perceived Australia as an exotic place, then Queensland was quintessentially so. A disproportionate number of early tales about life in Australia is set in this colony, most often in the outback regions, but also in the vicinity of the coastal tropics. Nineteenth-century Queensland was viewed by the British, as well as by many Australians, as a remote outpost of Great Britain; it was commonly thought of as the least urbanised, the least “civilised”, the least industrialised and perhaps the most remote of all the regions of Australia. It was widely seen as an area of great and diverse (if also mysterious and desolate) natural beauty, of rural innocence as yet unpolluted by dark, satanic mills (even Brisbane was a sleepy, sprawling country town in picturesque contrast to the bustling southern cities of Sydney and Melbourne). Children's novelists capitalised on the mystique of Queensland, archetypal frontier colony, by creating a cluster of tales showing what it was like to be a Queensland kid.
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Hunsu, F. "Redefining otherness: Writing fictional (auto)biography and centring female subjectivity in Akachi Adimora- Ezeigbo’s Children of the Eagle." Tydskrif vir letterkunde 52, no. 1 (April 2, 2015): 168. http://dx.doi.org/10.4314/tvl.v52i1.12.
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pavleheidler. "The Physical Consequence to Knowing: A speculative report." Performance Philosophy 5, no. 2 (February 24, 2020): 260–92. http://dx.doi.org/10.21476/pp.2020.52286.
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This is my first attempt at approaching the notion of agency as a practice though the mode of dancing and writing; deconstructing and reconstructing what I know experientially and what I am trying to comprehend theoretically. I am looking for a way of releasing bodily capacities from the jurisdiction of the mind, whose cartesian definition I don't attempt to deny, as most people I have the chance to work with and teach exhibit in one way or another proof of the fact they’ve embodied the concept. All the while, I am considering philosophical texts, anatomical texts, and (science) fiction; I am taking into account my bodily experience, I am dancing and I am writing, I am teaching, conversing, occasionally making progress, occasionally falling back to the embrace of old habits, making unnecessary assumptions, and failing. Repetition is a part of the study. Minimal difference is a part of the study. Changing perspective is a part of the study. My strategy includes not trying to fix but approach with care and attention every step I am taking; every achievement, every set-back; every question and every answer. I assume my learning curve to be cyclical, as I continue to practice in public, always vulnerable but eager to engage in an exchange.
Dissertations / Theses on the topic "Eagles in 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 in 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 in fiction"
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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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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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Kolb, Laura. "Friendly Credit and its Dangers." In Fictions of Credit in the Age of Shakespeare, 77–123. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198859697.003.0003.
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This chapter reads Shakespeare’s The Merchant of Venice and Thomas Heywood’s A Woman Killed with Kindness alongside early modern letter-writing manuals. In the early seventeenth century, popular epistolary manuals began to include examples of letters begging for money and letters denying or extending loans. These fictional epistles offer a repository of stock phrases and rhetorical moves useful for eager borrowers and unwilling lenders alike, two positions most of the books’ users would occupy at one point or another over the course of their lives. Letter-writing guides teach their users the necessity of self-contradiction over time: of now adhering to one set of values and practices, now to another. Shakespeare’s and Heywood’s plays analyze their protagonists’ inability to do precisely this. In Merchant and A Woman Killed, tragedy or near-tragedy results from the failure to exercise the social flexibility necessary for balancing the demands of love with those of thrift.
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Cooper, Ian. "Amuse-Bouche." In Frenzy, 7–10. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325369.003.0001.
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This chapter provides a background of Alfred Hitchcock, whose remarkable achievements as a film-maker may be unmatched. As well as the numerous accolades, a number of Hitchcock films have proved unusually influential. Consider the chase thrillers such as The 39 Steps (1935) and North by Northwest (1959), the claustrophobic chamber pieces Rope (1948) and Rear Window (1954), the hallucinogenic romance of Vertigo (1958), the American Gothic of Psycho (1960), and the apocalyptic science fiction of The Birds (1963). While Hitchcock's status as one of the great film artists is unassailable and his reputation increases, there have always been dissenters. Traditionally, the case against Hitchcock is that he is little more than a popular entertainer, an observation he did little to counter, what with his use of genre and big stars as well as his eager adoption of the role of clownish showman. This book focuses on Hitchcock's penultimate film Frenzy (1972).
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Britton, Jeanne M. "Letters in the Novel and the Novel in Letters." In Vicarious Narratives, 70–92. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198846697.003.0002.
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This chapter argues that Henry Mackenzie’s novel in letters Julia de Roubigné marks a transition from epistolary novels that are characterized by numerous correspondents who betray a desperate need for response to nineteenth-century frame tales that unite multiple speakers and eager listeners. Predicting the continued force of epistolary affect and perspective in novels published well into the nineteenth century, Julia de Roubigné indicates the role that fictional scenes of sympathetic response play in the historical transition from the novel in letters to the letter in the novel. This function of sympathy points to the persistent significance of the emotional immediacy and multiple perspectives that are characteristic of a logic of epistolarity, which in turn guides the shifting speakers and listeners of retrospective frame tales, such as René, Frankenstein, and Wuthering Heights, discussed in later chapters.
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Smith, Gary. "We’re watching You." In The AI Delusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824305.003.0014.
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Humans often anthropomorphize by assuming that animals, trees, trains, and other non-human objects have human traits. In children’s stories and fairy tales, for example, pigs build houses that wolves blow down and foxes talk to gingerbread men. Think about these stories for a minute. The three little pigs have human characteristics reflected in the houses they build of straw, sticks, or bricks. The wolf uses various ruses to try to lure the pigs out of the brick house, but they outwit him and then put a cauldron of boiling water in the fireplace when they realize that the wolf is climbing up the roof in order to come down the chimney. The gingerbread man is baked by a childless woman, but then runs away from the woman, her husband, and others, taunting his pursuers by shouting, “Run, run as fast as you can! You can’t catch me. I’m the Gingerbread Man!” In some versions, a fox tricks the gingerbread man into riding on his head in order to cross a river and then eats him. In the version read to me when I was a child, a wily bobcat tries to lure the gingerbread man into his house for dinner, but birds in a nearby tree warn the gingerbread man that he is the dinner. The gingerbread man flees while the bobcat snarls, “Botheration!” The gingerbread man runs back home, where he is welcomed by his family and promises never to run away again. These are enduring fairy tales because we are so willing, indeed eager, to assume that animals (and even cookies) have human emotions, ideas, and motives. In the same way, we assume that computers have emotions, ideas, and motives. They don’t. Nonetheless, we are fascinated and terrified by apocalyptic science-fiction scenarios in which robots have become smarter than us—so smart that they decide they must eliminate the one thing that might disable them: humans. The success of movies such as Terminator and Matrix has convinced many that this is our future and it will be here soon. Even luminaries such as Stephen Hawking and Elon Musk have warned of robotic rebellions.