Academic literature on the topic 'Fractures, fiction'
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Journal articles on the topic "Fractures, fiction"
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Kamat, Ameya S. "Infection Rates in Open Fractures of the Tibia: Is the 6-Hour Rule Fact or Fiction?" Advances in Orthopedics 2011 (2011): 1–4. http://dx.doi.org/10.4061/2011/943495.
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Aims. Emergency debridement has long been the standard of care for open fractures of the tibia as infection is an important complication. The timing of operative debridement can be debated. We review open fractures of the tibia and compare infection rates in those that were operated on within and after 6-hours.Method. 103 consecutive open fractures of the tibia were reviewed. The data was analysed retrospectively with regard to severity of fracture and incidence of infection. Infection rates over a three-month period were compared between the two groups.Results. 12 (11.6%) patients developed an infection within the first 3 months of injury. 7 of which were taken to theatre within 6-hours, and 5 after 6-hours. No significant differences were found between these two groups.Conclusion. There is no significant difference in timing of surgery. Initial basic interventions may play more of a role in limiting the risk of infection.
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Shur, Natasha E., Maxwell L. Summerlin, Bruce J. McIntosh, Eglal Shalaby-Rana, and Tanya S. Hinds. "Genetic causes of fractures and subdural hematomas: fact versus fiction." Pediatric Radiology 51, no. 6 (May 2021): 1029–43. http://dx.doi.org/10.1007/s00247-020-04865-0.
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Fox, Renée. "Gothic Realism, or Reading is Believing in Dracula." Irish University Review 53, no. 1 (May 2023): 9–26. http://dx.doi.org/10.3366/iur.2023.0587.
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This essay explores the ways Bram Stoker brings eighteenth-century affective gothic reading practices to bear on Victorian fiction’s investments in realism. By investigating modes of affective reading in Dracula, the essay develops a definition of ‘gothic realism’ to describe an affective experience of the real that gothic fiction offers in place of verisimilitude and representations of everyday life. Beginning by tracing the explicit and implicit histories of this term through both literary criticism and the gothic tradition, the essay turns to Dracula to discover an alternative definition of ‘gothic realism’ that bridges a longstanding divide between the colonial fractures intrinsic to nineteenth-century Irish literature and the claims to coherent representational reality usually aligned with the Victorian novel. ‘Gothic realism’ becomes a term, and a reading practice, for newly understanding how the gothic entwines with realism across both British and Irish nineteenth-century fiction, not as its critical antithesis, or as its hidden secret, but as an affective mode through which we can see nineteenth-century Irish novels representing the realities of the world around them.
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Brown, Carlos V. R., George Velmahos, Dennis Wang, Susan Kennedy, Demetrios Demetriades, and Peter Rhee. "Association of Scapular Fractures and Blunt Thoracic Aortic Injury: Fact or Fiction?" American Surgeon 71, no. 1 (January 2005): 54–57. http://dx.doi.org/10.1177/000313480507100110.
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It is classically taught that scapular fractures (SF) are commonly associated with blunt thoracic aortic injury (BTAI). The purpose of this study was to determine the association between SF and BTAI. A 10-year retrospective review of blunt trauma admissions from two level I trauma centers located in different geographic regions, Washington Hospital Center (WHC) and Los Angeles County Medical Center and the University of Southern California (LAC/USC), was performed. Patients with SF and BTAI were identified, and records were reviewed to determine associated injuries. We identified 35,541 blunt trauma admissions (WHC: 12,971, LAC/USC: 22,570). SF and BTAI occurred in 1.1 per cent and 0.6 per cent of patients, respectively. Most of the patients with SF had associated injuries (99%). Only four patients with SF had BTAI (4/392; 1.0%). The most common injuries associated with SF were rib (43%), lower extremity (36%), and upper extremity (33%) fractures. SF is uncommon after blunt trauma. Patients with SF almost always have significant associated injuries. Although SF indicates a high amount of energy transmitted to the upper thorax, these patients rarely have BTAI. SF should not be used as an indicator of possible BTAI.
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González Sampedro, Irene. "Revisiting Female Resilience within the Psychiatric in Janice Galloway’s Fiction." Complutense Journal of English Studies 29 (September 16, 2021): 35–44. http://dx.doi.org/10.5209/cjes.72717.
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The aim of this article is to analyse the fractures in the performance of normative discourses of identity in Janice Galloway’s novel The Trick Is To Keep Breathing (1989) and her short story “and drugs and rock and roll”, included in her latest collection Jellyfish (2015). Drawing on the thematic dialogue between the two works, set in Scotland, this article focuses specifically on their protagonists’ processes of healing following a period of depression, and the urban spatial representation of these experiences. In order to do so, it examines various practices associated with psychiatrics that isolate and dehumanise citizens and lead to the creation of a sharp social dichotomy as regards wellbeing. Finally, the article approaches the spatial embodiment of these characters, as well as the creation of alternative spaces inside medical institutions as part of a continuum in Galloway’s exploration of female resilience.
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Haris, Muhammad, Michael Z. Hou, Wentao Feng, Jiashun Luo, Muhammad Khurram Zahoor, and Jianxing Liao. "Investigative Coupled Thermo-Hydro-Mechanical Modelling Approach for Geothermal Heat Extraction through Multistage Hydraulic Fracturing from Hot Geothermal Sedimentary Systems." Energies 13, no. 13 (July 7, 2020): 3504. http://dx.doi.org/10.3390/en13133504.
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The meaningful utilization of artificially created multiple fractures in tight formations is associated with the performance behavior of such flow channels, especially in the case of thermal energy extraction from sedimentary geothermal system. In this study, an innovative idea is presented to develop a numerical model for geothermal energy production based on concrete physical performance of an artificially created tensile multi-fracture system in a simplified manner. The state-of-the-art software FLAC3Dplus-TOUGH2MP-TMVOC are integrated to develop a coupled thermo-hydro-mechanical (THM) fictive model for constructing a multi-fracture scheme and estimating heat extraction performance. By incorporating the actual fracture width of newly created subsequent fracture under the effect of stress shadow, cubic law is implemented for fluid flow and geothermal energy production. The results depict that fracture spacing plays a vital role in the energy contribution through multiple fractures. Afterwards, a field case study to design huge multiple hydraulic fractures was performed in the geothermal well GB X1 in North Germany. The attenuation of fracture propagation becomes more significant when massive multiple fracturing operation is performed especially in the case of lower fracture spacing. The fictive model results will be extended to study the geothermal utilization of the North German basin through massive multiple fractures in our future work.
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Elber-Aviram, Hadas. "Rewriting Universes: Post-Brexit Futures in Dave Hutchinson’s Fractured Europe Quartet." Humanities 10, no. 3 (September 3, 2021): 100. http://dx.doi.org/10.3390/h10030100.
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Recent years have witnessed the emergence of a new strand of British fiction that grapples with the causes and consequences of the United Kingdom’s vote to leave the European Union. Building on Kristian Shaw’s pioneering work in this new literary field, this article shifts the focus from literary fiction to science fiction. It analyzes Dave Hutchinson’s Fractured Europe quartet—comprised of Europe in Autumn (pub. 2014), Europe at Midnight (pub. 2015), Europe in Winter (pub. 2016) and Europe at Dawn (pub. 2018)—as a case study in British science fiction’s response to the recent nationalistic turn in the UK. This article draws on a bespoke interview with Hutchinson and frames its discussion within a range of theories and studies, especially the European hermeneutics of Hans-Georg Gadamer. It argues that the Fractured Europe quartet deploys science fiction topoi to interrogate and criticize the recent rise of English nationalism. It further contends that the Fractured Europe books respond to this nationalistic turn by setting forth an estranged vision of Europe and offering alternative modalities of European identity through the mediation of photography and the redemptive possibilities of cooking.
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Cherepovska, Tetiana, and Olena Binkevych. "PSYCHOLOGISM OF THE NOVEL “THE BOOK OF TOMORROW” BY CECILIA AHERN." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 11(79) (September 29, 2021): 173–76. http://dx.doi.org/10.25264/2519-2558-2021-11(79)-173-176.
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The article reveals the phenomenon of psychologism in fiction and the ways of its actualization in modern English literature concerned with psychological aspects. The notion is analyzed on the basis of Cecilia Ahern’s novel “The Book of Tomorrow” that depicts the protagonist’s psychological crisis as a result of personal loss and the ways of coping with negative experience. Lexical-stylistic and compositional means are studied through the prism of the representation of the protagonist’s internal feelings caused by inner and outer factors. The role of symbols, fairy-tale allusions, personifications, artistic details and comparative tropes in depicting the young girl’s crisis state and her reactions to life changes is traced. The function of key words, implicit details, temporal fractures and the title in the compositional framing of the text is researched. The role of the mentioned-above linguistic means in the reflection of transformations taking place in the protagonist’s consciousness is studied. Some peculiarities of Cecilia Ahern’s individual author’s style, such as wide use of fairy-tale allusions and personifications, contrastive application of some lexical-stylistic means (artistic details) and the coherent function of the others (an implicit detail, extended metaphors), are outlined. The author’s favourite key words are listed; the stylistic role of their repetitions in different contexts is shown. The retrospective actualization of the lexeme tomorrow presented in the title is traced.
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Üstün Kaya, Senem, and Ümmühan Bilgin Topçu. "The Abstraction of Reality in Cengiz Da?ci’s Benim Gibi Biri (Someone Like Me)." International Journal of Language and Literary Studies 4, no. 1 (March 27, 2022): 208–24. http://dx.doi.org/10.36892/ijlls.v4i1.822.
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Cengiz Da?c? has been circling around certain facts since his first novels in the 50's and in his many historically unique novels, he attempted to embrace his readers with human adventures, social and individual fractures based on the alienation and isolation of minorities from their own lands and perceivable periods in the shed of clashes and wars. This study aimed at interpreting the aspects of his style in his Benim Gibi Biri (Someone like Me) and presenting the differentiation of the work from its predecessors. The main purpose was to detect the concentration in the narration of Da?c?. The novel underscores the deviations in narration, cohesion and context in general when the character, Joseph becomes the voice of the conscience of the protagonist-narrator. Throughout spatial narration, we observed the traces of Cengiz Da?c? in a silhouette revealing his own personality and experience in actual life. The author’s psychology, outbursts, rebels, traumas and feelings are reflected through the main character, Joseph Tucknell. The deviations in narration highlights the scenes that create pathos for the readers when language becomes poetic. This study involves three main parts. In the first part, the novel Benim Gibi Biri (Someone like Me) by Cengiz Da?c? is analyzed in terms of characterization, themes and setting. Secondly, the focus was on the narrative techniques and cohesion within the context of the text. Finally, it was concluded that Cengiz Da?c? applied essential techniques to abstract his ideas from his fiction in this notable novel, distinguished from his previous works. Therefore, his works still mark the literary canon in terms of unique style and themes.
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Khammas, Lamya Fouad. "Iraq's Transhistorical and National collective Trauma: Unveiling the Overwhelming History in "The Corpse Washer" by Sinan Antoon." Journal of Tikrit University for Humanities 30, no. 12, 2 (December 30, 2023): 346–66. http://dx.doi.org/10.25130/jtuh.30.12.2.2023.29.
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This research explores the intersection of Iraq's transhistorical trauma and its literary heritage following the 2003 invasion. It examines the impact of war on Iraqi society and the prevalent theme of war in Iraqi literature. It marked a turning point for Iraqi writers, allowing freedom of expression through opulent texts that established the foundations of the Iraqi postcolonial narrative. The collapse of Saddam Hussein's regime brought hope and opportunities, leading to the emergence of publishing firms and online platforms for open expression. The postcolonial novel authentically portrayed the invasion's actions and the country's political, economic, and social collapse. Authors aim to confront societal fractures and expose wounds, appreciating the divine amidst the turmoil. Examining Sinan Antoon's novel "The Corpse Washer", we delve into the trauma experienced by Iraqis due to prolonged conflicts. Antoon skillfully tackles the transhistorical horror of war and its lasting impact, embodying the cathartic consequences of pity and terror. The novel goes beyond historiographic metafiction, utilizing elements of modernism and postmodernism to portray Iraq's historical trauma through narrative techniques like memories, reflection, foreshadowing, and flashbacks. This research aims to deepen our understanding of Iraq's transhistorical trauma and its representation in post-2003 Iraqi novels. It sheds light on literature's power to challenge dominant narratives and give voice to silenced experiences. Exploring the intersection of historiographic metafiction and trauma fiction reveals how these narratives shape our understanding of the past and present. The study emphasizes the significance of bearing witness to Iraq's traumatic past, the complexities of memory in collective trauma's aftermath, and the lasting consequences of war trauma as depicted in "The Corpse Washer".
Dissertations / Theses on the topic "Fractures, fiction"
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Chapin, Elizabeth. "What Fantasy Can Do for Her: A Critical and Creative Exploration of Secondary and Fractured Worlds." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1199.
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In making a distinction between secondary and fractured worlds, we can begin to determine the possibilities that fantasy literature, as a wider subject, holds for female characters and for feminine themes. These two areas of fantasy represent very different possibilities for women and the feminine, as a result of their approaches towards the presentation of ideology and authority. These approaches find their root most clearly in the creation of a story’s place and time, a fact I will explore through the lens of Mikhail Bakhtin’s notion of the “chronotope.” For, though both high fantasy and the fantastic question the real, representing, as Rosemary Jackson writes, a “dissatisfaction with what ‘is,’” they undermine the structure of that reality to very different degrees, with one mode seeking out a stabilizing transcendence, while the other revels in an ambiguous immanence. The creative response to this critical exploration will both imaginatively reflect on and practically test the initial questions posed and arguments made, in an effort to more personally understand how each tradition does or does not make room for women and the feminine.
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Dennett, Janet Mary. "Dreaming myself : combining dreams, autobiographical writing and psychotherapy in addressing narrative fracture." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/51129/.
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This study springs from my experience of what I term ‘narrative fracture', a life-hiatus or crisis that derails one's current life pattern and self-identity. It examines the nature of this phenomenon and its possible roots in early infancy and childhood. Three therapeutic modalities: dreams, psychotherapy and autobiographical writing, which were instrumental towards resolution of that narrative fracture for me, are then explored. The study uses first person heuristic methodology because my own experience, and ongoing process towards resolution, lies at the heart of the research. It also, as part of that methodology, draws on the experience of three ‘textual co-researchers' as recorded in their autobiographical writings. Each of the segments of the study, narrative fracture, roots of narrative fracture, and modalities towards resolution, are interrogated from three directions: my autobiographical narrative relating to that segment, and extracts from the other authors' texts of theirs, then examination of these in light of the relevant theory, and finally a reflexive review made of the findings, following thus a pattern, identified by Michelle Davies, of a narrative ‘voice', an interpretive ‘voice' and an unconscious ‘voice'. Most traumatic for me at narrative fracture was loss of self-identity and erupting internal chaos. Psychoanalyst/interpersonal theorist Karen Horney's theories around the formation of a ‘false self' and the related palliative measures of addiction and controlling are my foremost source of understanding here. To discover how self-identity is formed and can potentially be impeded, the mother-baby relationship, the issue of attachment, and the crucial involvement of the body in the infant developmental matrix are explored, principally through the works of Donald Winnicott and John Bowlby; and the related development of ‘affect-regulation' and ‘mentalization' through Peter Fonagy's breakthrough work. Ulric Neisser and Jerome Bruner's theories bring further understanding of development of the self and the socially constructed elements of self-identity. In the process towards ‘reconstruction' Donald Kalsched's theory of the crucial necessity of ‘re-traumatization' is foregrounded, and the study holds this in mind during exploration of the three therapeutic modalities. Neuroscience and brain research also inform this exploration, and a common denominator is found between the three therapeutic modalities via Ernest Hartmann's notion of a ‘continuum' of modes of mental functioning. It is established that the REM programming and reprogramming state, and input from unconscious mental processing are increasingly at work as we operate at the ‘creative'/'dreaming' end of this continuum, and that here psychotherapy, autobiographical writing and dreaming are all shown to be located. Four key points emerge in understanding the impact of these three modalities on healing narrative fracture: the centrality of the relational; the emotions as ‘linchpin'; the power of pattern, metaphor and image; and the potency of the sleeping brain. With its personal accounts, and the new syntheses made between aspects of the different academic fields it mines, this study offers a new perspective on the nature, and lifelong consequences, of early childhood development. It is envisaged that this will provide valuable insight to the burgeoning numbers of quantitative researchers now recognising the need for first person input to their third person research, and to those who are professionally involved in the care of others, as well as to related policy-makers.
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Lombard, Sunell. "Fiction, friction and fracture : autobiographic novels as a site for changing discouses [i.e. discourses] around subjectivity, truth and identity." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/21778.
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Thesis (MPhil)--Stellenbosch University, 2008.ENGLISH ABSTRACT: The concept of the self or subject is more relevant now than ever, since society’s perceptions about selfhood are in the process of changing. Autobiography is an important site for the critical discussion of issues surrounding the subject – such as truth, identity formation and agency – seeing that it is one of the most revealing spaces in which these altering perceptions manifest. As can be deduced from the title of my thesis, FICTION, FRICTION AND FRACTURE: Autobiographic Novels as a Site For Changing Discourses Around Subjectivity, Truth and Identity, I explore what autobiographic novels disclose about the notions truth, self-representation and identity formation that emerge from an investigation of the subject. Poststructuralism and feminism have been instrumental in destabilizing the notion of a unified subject as well as any concept that makes universal claims. Throughout this thesis I will be applying poststructuralist and feminist theories around subjectivity to my work as well as the work of a selection of autobiographic novelists, namely Robert Crumb, Dan Clowes, Art Spiegelman and Chris Ware. When referring to autobiographic novels I will be applying Leigh Gilmore’s term autobiographics. Autobiographics introduces a way of thinking about life narrative that focuses on the changing discourses of truth and identity that feature in autobiographical representations of selfhood. I will be utilizing Gilmore’s term since it so neatly encompasses the concepts that I will be investigating.
AFRIKAANSE OPSOMMING: Die konsep van die self of subjek is nou meer as ooit relevant siende dat die samelewing se persepsies omtrent die subjek tans ’n transformasie ondergaan. Outobiografie is ’n belangrike platform vir die kritiese bespreking van idees wat uit besprekings van die subjek vloei – soos waarheid, identiteits konstruksie en agentskap – aangesien die genre ’n duidelike refleksie van die veranderende persepsies lewer. Soos afgelei kan word uit die titel van my skripsie FICTION, FRICTION AND FRACTURE: Autobiographic Novels as a Site For Changing Discourses Around Subjectivity, Truth and Identity, beoog ek om vas te stel wat autobiografiese romans blootlê in terme van konsepte soos waarheid, self-voorstelling en identiteitskonstruksie wat uit die ondersoek rondom die subjek na vore kom. Poststrukturalisme en feminisme speel beide ‘n belangrike rol in die destabilisering van die uniformige subjek asook enige ander konsep wat aanspraak tot enige universiële veronderstellings maak. Ek plaas poststrukturalistiese en feministiese teorie rondom subjektiwiteit deurlopend op my werk, asook the werk van die outobiografiese kunstenaars Robert Crumb, Dan Clowes, Art Spiegelman en Chris Ware toe. Wanneer ek na autobiografiese romans verwys, verwys ek spesifiek na Leigh Gilmore se term autobiografies. Gilmore se interpretasie behels ‘n begrip van outobiografie wat fokus op die veranderende diskoerse van waarheid en identiteit wat in outobiografiese voorstellings van die self voorkom. Ek beoog om haar term te gebruik aangesien dit die konsepte waarna ek kyk duidelik omvat.
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au, jbmorrison@iinet net, and Joanna Morrison. "Bad habits temptation & the divided self a work of fiction and a critical accompaniment using the lunatic asylum, the theatre and the uncanny motif of the double, in the context of nineteenth-century Fremantle, to explore female sexuality and fractured." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080908.110959.
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Bad Habits: Temptation & The Divided Self is a thesis comprising an original work of fiction and a critical accompaniment, which use the lunatic asylum, the theatre and the uncanny motif of the double, in the context of nineteenth-century Fremantle, to interrogate social conformity and the patriarchal repression of female sexuality.
Victorian society polarised women into either selfless, virtuous angels of the house or fallen women beyond redemption. While the former exemplified an unforgiving, patriarchal notion of femininity, the latter bore the stigma of moral insanity and, given the right circumstances, could lead to a period of incarceration in the lunatic asylum. Thus, in fledgling Fremantle, psychiatry and the gothic lunatic asylum were deeply implicated in enforcing a patriarchal ideology on women.
The Victorian rhetoric of virtue considered women more susceptible than men to the contaminating forces of such cultural phenomena as novels and the theatre. As such, actresses were both cause and effect of social contamination: not quite fallen, but similarly tainted. The protagonist in my historical fiction is an actress who experiences an uncomfortable dual consciousness when on stage as her awareness watches from the wings, surveyor of herself surveyed. This duality is further entrenched when she is photographed by a local portrait artist and is admitted to Fremantles lunatic asylum for wilful and promiscuous behaviour, diagnosed as suffering symptoms of moral insanity.
Deprived of her freedom, she learns to view her past as something shameful and unnatural and is thus triumphant when she makes permanent the cleavage between her new conscience and her old. It is only on her release that she discovers the consequences of that division: an uncanny but inescapable relationship with her living, breathing double.
Today, women are bombarded with images of the ideal feminine and girls are sexualised at an increasingly young age, and so a discussion of femininity, as defined by patriarchy, and the way it shapes a womans identity are as relevant as it has ever been.
Bad Habits is designed to evoke a gothic Fremantle in which to explore motifs that arise in the numerous texts on the gothic and the uncanny manifestation of the divided self. These literary texts, read alongside those which analyse the fixation of Victorian society on the bodies, minds and weaknesses of women, have provided the framework for a critical analysis of the finished work.
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Morrison, Joanna. "Bad habits temptation and the divided self: a work of fiction and a critical accompaniment using the lunatic asylum, the theatre and the uncanny motif of the double, in the context of nineteenth-century Fremantle, to explore female sexuality and fractured." Thesis, Morrison, Joanna (2006) Bad habits temptation and the divided self: a work of fiction and a critical accompaniment using the lunatic asylum, the theatre and the uncanny motif of the double, in the context of nineteenth-century Fremantle, to explore female sexuality and fractured. Masters by Research thesis, Murdoch University, 2006. https://researchrepository.murdoch.edu.au/id/eprint/209/.
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Bad Habits: Temptation & The Divided Self is a thesis comprising an original work of fiction and a critical accompaniment, which use the lunatic asylum, the theatre and the uncanny motif of the double, in the context of nineteenth-century Fremantle, to interrogate social conformity and the patriarchal repression of female sexuality.
Victorian society polarised women into either selfless, virtuous angels of the house or fallen women beyond redemption. While the former exemplified an unforgiving, patriarchal notion of femininity, the latter bore the stigma of 'moral insanity' and, given the right circumstances, could lead to a period of incarceration in the lunatic asylum. Thus, in fledgling Fremantle, psychiatry and the gothic lunatic asylum were deeply implicated in enforcing a patriarchal ideology on women.
The Victorian rhetoric of virtue considered women more susceptible than men to the contaminating forces of such cultural phenomena as novels and the theatre. As such, actresses were both cause and effect of social contamination: not quite fallen, but similarly tainted. The protagonist in my historical fiction is an actress who experiences an uncomfortable dual consciousness when on stage as her 'awareness' watches from the wings, surveyor of herself surveyed. This duality is further entrenched when she is photographed by a local portrait artist and is admitted to Fremantle's lunatic asylum for wilful and 'promiscuous' behaviour, diagnosed as suffering symptoms of 'moral insanity'.
Deprived of her freedom, she learns to view her past as something shameful and unnatural and is thus triumphant when she makes permanent the cleavage between her new conscience and her old. It is only on her release that she discovers the consequences of that division: an uncanny but inescapable relationship with her living, breathing double.
Today, women are bombarded with images of the ideal feminine and girls are sexualised at an increasingly young age, and so a discussion of femininity, as defined by patriarchy, and the way it shapes a woman's identity are as relevant as it has ever been.
Bad Habits is designed to evoke a gothic Fremantle in which to explore motifs that arise in the numerous texts on the gothic and the uncanny manifestation of the divided self. These literary texts, read alongside those which analyse the fixation of Victorian society on the bodies, minds and weaknesses of women, have provided the framework for a critical analysis of the finished work.
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Morrison, Joanna. "Bad habits temptation and the divided self: a work of fiction and a critical accompaniment using the lunatic asylum, the theatre and the uncanny motif of the double, in the context of nineteenth-century Fremantle, to explore female sexuality and fractured." Morrison, Joanna (2006) Bad habits temptation and the divided self: a work of fiction and a critical accompaniment using the lunatic asylum, the theatre and the uncanny motif of the double, in the context of nineteenth-century Fremantle, to explore female sexuality and fractured. Masters by Research thesis, Murdoch University, 2006. http://researchrepository.murdoch.edu.au/209/.
Full textAbstract:
Bad Habits: Temptation & The Divided Self is a thesis comprising an original work of fiction and a critical accompaniment, which use the lunatic asylum, the theatre and the uncanny motif of the double, in the context of nineteenth-century Fremantle, to interrogate social conformity and the patriarchal repression of female sexuality.
Victorian society polarised women into either selfless, virtuous angels of the house or fallen women beyond redemption. While the former exemplified an unforgiving, patriarchal notion of femininity, the latter bore the stigma of 'moral insanity' and, given the right circumstances, could lead to a period of incarceration in the lunatic asylum. Thus, in fledgling Fremantle, psychiatry and the gothic lunatic asylum were deeply implicated in enforcing a patriarchal ideology on women.
The Victorian rhetoric of virtue considered women more susceptible than men to the contaminating forces of such cultural phenomena as novels and the theatre. As such, actresses were both cause and effect of social contamination: not quite fallen, but similarly tainted. The protagonist in my historical fiction is an actress who experiences an uncomfortable dual consciousness when on stage as her 'awareness' watches from the wings, surveyor of herself surveyed. This duality is further entrenched when she is photographed by a local portrait artist and is admitted to Fremantle's lunatic asylum for wilful and 'promiscuous' behaviour, diagnosed as suffering symptoms of 'moral insanity'.
Deprived of her freedom, she learns to view her past as something shameful and unnatural and is thus triumphant when she makes permanent the cleavage between her new conscience and her old. It is only on her release that she discovers the consequences of that division: an uncanny but inescapable relationship with her living, breathing double.
Today, women are bombarded with images of the ideal feminine and girls are sexualised at an increasingly young age, and so a discussion of femininity, as defined by patriarchy, and the way it shapes a woman's identity are as relevant as it has ever been.
Bad Habits is designed to evoke a gothic Fremantle in which to explore motifs that arise in the numerous texts on the gothic and the uncanny manifestation of the divided self. These literary texts, read alongside those which analyse the fixation of Victorian society on the bodies, minds and weaknesses of women, have provided the framework for a critical analysis of the finished work.
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Morrison, Joanna Burnett. "Bad habits : temptation & the divided self : a work of fiction and a critical accompaniment using the lunatic asylum, the theatre and the uncanny motif of the double, in the context of nineteenth-century Fremantle, to explore female sexuality and fractured identity /." Access via Murdoch University Digital Theses Project, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080908.110959.
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Paul, William Andrew. "Border fiction : fracture and contestation in post-Oslo Palestinian culture." 2013. http://hdl.handle.net/2152/23099.
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This dissertation delves into a body of Palestinian literature, film, and art from the past two decades in order theorize the relationship between borders and their representations. In Israel and Palestine, a region in which negotiating borders has become a way of life, I explore the ways in which ubiquitous boundaries have pervaded cultural production through a process that I term “bordering.” I draw on theoretical contributions from the fields of architecture, geography, anthropology, as well as literature and film studies to develop a conceptual framework for examining the ways in which authors, artists, and filmmakers engage with borders as a space to articulate possibilities of encounter, contestation, and transgression.
I argue that in these works, the proliferation of borders has called into question the Palestinian cultural and political consensus that created a shared set of narratives, symbols, and places in Palestinian cultural production until the last decade of the 20th century. In its place has emerged a fragmented body of works that create what Jacques Rancière terms “dissensus,” or a disruption of a cultural, aesthetic, disciplinary, and spatial order. Read together, they constitute what I term a “border aesthetic,” in which literature, film, and art produce new types of spaces, narratives, and texts through the ruptures and fractures of the border. I trace the emergence of this aesthetic and the new genres and forms that distinguish it from earlier Palestinian literary, political, and intellectual projects through analyses of the works of Elia Suleiman, Sayed Kashua, Raba’i al-Madhoun, Emily Jacir, Yazid Anani, and Inass Yassin. In their attempts to grapple artistically with the region’s borders, these authors, directors, and artists create new codes, narratives, vernaculars, and spaces that reflect the fragmentation wrought by pervasive boundaries. These works, fluent in multiple mediums, genres, and languages, reveal both the possibilities and the limits of this aesthetic, as they seek to contest borders but nevertheless remain bound by them.text
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Cavaco, Maria José Berquó de Aguiar Rodrigues. "Lugares de fractura: a auto-reflexividade na ficção artística." Doctoral thesis, 2016. http://hdl.handle.net/10071/14197.
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Tese teórico-artística decorrente de uma prática de projecto incidente na dimensão crítica da auto-reflexividade na ficção. Fazendo convergir as duas vertentes da tese, baliza-se a investigação na articulação dos conceitos de ficção, auto-reflexividade e fractura, com os de moldura e lugar. A auto-reflexividade é concebida como a interiorização de um exterior que configura o conceito de ‘dobra’ em Gilles Deleuze; a fractura é concebida como a abertura da crise que um exterior exerce num interior, ao ser interiorizado; a moldura é concebida como o espaçamento que funciona como parergon, identificando-se alternadamente com cada um dos termos que distingue e une; finalmente o lugar aparece com um evento transformador, em que se unem em relação diacrítica espaço e tempo, enquanto um corpo vivo interage com o que o envolve. O nexo entre estes conceitos apresenta o fundamento operatório da ficção: a duplicidade entre interior e exterior como possibilidade de caracterização, envolvendo uma transformação. Esta transformação gera-se com a moldura/espaçamento como dispositivo; com a fractura como possibilidade; e com a união de espaço e tempo como condição. Com este fundamento, a ficção delineia-se como uma contínua construção e produção de conhecimento. A hipótese de que a auto-reflexividade num trabalho artístico fundado numa dimensão ficcional produz criticamente lugares delimitando um espaço crítico apresenta-se como estratégia para a articulação de conceitos que expõe as circunstâncias, os dispositivos e os factores que anunciam, justificam e expressam os contornos do conceito de ficção a partir do seu fundamento operatório.The dissertation addresses the nexus between theoretical knowledge and artistic practice at the basis of a body of work grounded in the critical scope of self-reflexivity in fiction. The two main strands converge as the research moves towards the articulation of the concepts of fiction, self-reflexivity, and fracture, with those of frame and place. Self-reflexivity is conceived as Gilles Deleuze’s ‘fold’, i.e. the internalization of an outside; fracture is conceived as the opening of a crisis that the outside forces upon the interior as it gets internalized; the frame is conceived as spacing, functioning as parergon, alternately identifying with each of the elements that it unites and distinguishes; finally, place is seen as a transforming event in which time and space connect in a diacritical relation while a living body interacts with its surroundings. The link between these concepts presents the foundation of fiction from an operative stance: the polarity inside/outside as a possibility of characterization through a transformation. Such transformation occurs via spacing as device, fracture as possibility, and the union of space and time as precondition. From this stance, fiction emerges as an ongoing process of producing knowledge. The starting hypothesis – that self-reflexivity in artistic works rooted in fiction engenders the production of places while it circumscribes a critical space – strategically triggers the articulation of concepts that displays the circumstances, the devices and the preconditions that foreshadow, explain and convey the operative foundation of the concept of fiction.1
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Renuka, Devi M. V. "Fracture Of Plain Concrete Beams Via Fractals." Thesis, 2006. https://etd.iisc.ac.in/handle/2005/600.
Full textAbstract:
The quantitative description of rough fracture surfaces of concrete has been an important challenge for many years. Looking at the fracture surface of a concrete specimen, one realizes that the self-affine geometry of crack faces results from the stochastic nature of the crack growth. This is due to the heterogeneous nature of concrete that makes the crack tortuous leading its way through weak bonds, voids, mortar and getting arrested on encountering a hard aggregate forming crack face bridges. These mechanisms contribute to the tendency of the crack to follow a tortuous path. The self-similarity contained in the tortuous fracture surface of concrete makes it an ideal candidate to be considered as a
fractal. Further, the softening response itself has been treated as a singular fractal
function by earlier investigators. The very process of cracking and microcracking, could
be considered very close to the stick and slip process and therefore as a fractal. Therefore modeling a crack as a fractal and characterizing it by a fractal dimension have become the focus of research in recent years.
Due to randomly distributed discontinuous flaws and high heterogeneity of the internal
structure of concrete, mechanical properties also randomly vary. Under the effect of the
same external force, the stress intensity factors to which different points in the concrete are subjected are different. Hence the microcracks induced by the external force are distributed discontinuously and randomly. Therefore in the present study the effect of the random nature of the microcracks in the fracture process zone of concrete is investigated using both fractal and probabilistic approach. The most probable fractal dimension of a network of micro cracks is obtained as a function of the branching angle ‘α’ of the microcracks, considered as a random variable.
Further, an ensemble of cracks is synthetically generated using Monte Carlo technique imposing a constraint that the random deviations do not exceed the maximum size of the aggregate. Such tortuous cracks are analyzed by extending Fictitious Crack Model (FCM) proposed by Hillerborg et al [37]. A numerical study is carried out to examine the influence of certain important fracture parameters on the beam response of plain concrete beams. The contents of this thesis are organized in seven chapters with references at the end.
Chapter-1 summarizes the historical development of fracture mechanics. A brief review of the basic concepts of fracture mechanics theory is presented.
In chapter-2 a brief review of literature on fracture mechanics of concrete is presented.
An overview of the analytical models, numerical models and fractal models till date has been presented in a systematic way.
In chapter-3 the fracture processs zone has been modeled as a fractal following the work
of Ji et al [118]. The contribution here has been to improve the work of Ji et al [118]
(which considers the region of microcracks as a fractal tree) by considering the branching angle as a random variable. Mean fractal dimension thus obtained is found to match well with the experimental results available in the literature.
In chapter-4 FCM, as proposed by Hillerborg et al [37] has been modified to be
applicable to cracks with varying inclined faces by considering both horizontal and
vertical components of the closing forces. The theoretical aspects of the modified FCM
have been described in detail. The procedure for the determination of influence co-
efficient matrices for a random tortuous crack in mode-I and mixed-mode along with a
fractal crack has been explained. In the subsequent chapters the study has been taken up in two parts. In the first part only one generator of the fractal tree considered by Ji et al [118] has been analyzed by FCM to obtain load-deformation responses and fracture energy. In part two, a random tortuous crack, as already defined earlier has been analyzed both in mode-I and mixed mode using FCM.
In chapter-5 plain concrete beams with one generator of fractal tree has been analyzed.
The influence of the branching angle on the post-peak response of (P-δ) curves and
fracture energy has been obtained.
In chapter-6 a random tortuous crack has been analyzed in mode-I by FCM. The analysis
reveals the influence of maximum aggregate size upon the pre and post-peak behaviour in
support of the experimental findings. The nominal stress at peak is found to depend on
the characteristic dimension of the structure thereby confirming the size effect. Further fracture energy values have been obtained by the work of fracture method and the results show good agreement with the results obtained in the literature.
In chapter-7 a random tortuous crack has been analyzed in mixed mode by FCM. While
modeling, symmetry has been assumed only to facilitate computational work though it is
known that loss of symmetry affects the peak load. However analysis of the whole beam
can be handled by the code developed in the thesis
In chapter-8 a summary of the research work is presented along with a list of major
observations and references at the end.
Books on the topic "Fractures, fiction"
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illustrator, Schimmell David, ed. Dear dragon goes to the hospital. Chicago, Illinois: Norwood House Press, 2015.
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M, Martin Ann. Karen fait du patin à roulettes. Saint-Lambert, Québec: Héritage, 1992.
Find full textBook chapters on the topic "Fractures, fiction"
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Murray, Hannah Lauren. "Coda: The Resurrection of Whiteness." In Liminal Whiteness in Early US Fiction, 175–82. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481731.003.0008.
Full textAbstract:
Drawing together discussions of White citizenship throughout the book, the Coda examines the detachment between civic ideals and the individual White male in Herman Melville’s The Confidence-Man. The eponymous trickster’s vocal mimicry across racial identities, akin to the spiritualist medium, fractures the self-contained self-made White male citizen, while at the same time enacting the ultimate social freedom to transgress those borders. The book closes with a turn to liminal Whiteness in the contemporary moment. The early US imagination of becoming less than White continues in the language of oppression, replacement, and genocide that frames White supremacist ethno-nationalist anxieties of racial mobility in the contemporary United States.
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Ferraro, Thomas J. "Densher’s Crucifixion—or A Beautiful, Beneficent Dishonesty?" In Transgression and Redemption in American Fiction, 93–120. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863052.003.0005.
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Chapter 4 takes up the perspective of Kate Croy over against that of lover Merton Densher, to recognize how James’ The Wings of the Dove moves the reader beyond the short-sighted Anglo-Puritan ethics of Densher to contemplate the “beauty” of Marian-Catholic beneficence, mercy, and non-zero-sum romantic vision—especially when it comes to the otherwise dark entwinements of love and death. From mid-century English critics Yvor Winters and F.R. Leavis to the latest U.S. aestheticians, Wings has long been understood to be a sordid tale of greed and betrayal redeemed precisely yet only by the rise of conscience in Densher—who, not coincidently, takes over the indirect discourse of the second half of the novel, to the point of declaring his personal Christian ascension. And yet it is not a coincidence that this part of Wings is set in Adriatic-Catholic Venice: a city of waterways and alleyways in which to go straight is to get there by gorgeous indirection—which, this chapter argues, is the objective correlative of how James’ notorious late style (postponements, fractures, multivalences) and huge melodramatic, Veronese-inspired canvas serves the alternative Marian knowingness, not only of Kate Croy, the visionary mistress among the Marian figures, but also of the dying yet still sexual Milly Theale, her surreptitious acolyte; and not only that of the two women in the romantic triangle but also of the three wondrous queer characters in support—besmitten yet selfless Susan Stringham, visionary doctor Sir Luke Strett, and Eugenio the major-domo of Venetian Living.
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Jones, Charlotte. "Joseph Conrad." In Realism, Form, and Representation in the Edwardian Novel, 36–86. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857921.003.0002.
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Joseph Conrad famously declared a desire ‘above all, to make you see’, but he also repeatedly deploys abstract nouns—truth, beauty, the universe—to denote his representational ambitions. Discussing Conrad’s use of the idea of the real as an anchor for his fiction, this chapter works across literature and philosophy not by recourse to the model of a ‘lens’ or influence study, but instead examines the ways in which the particularly metaphysical dimension of the representational capacities and incapacities of language reveals the contradictions inherent in our desire to place the objects of our experience in a clear, vivid scheme. What demands do realities beyond our sensory experience make upon us for shape and conceptual clarity? In new readings of Nostromo and The Secret Agent, this chapter explores how Conrad’s use of metaphor and analogy fractures the metonymic chains through which realism moves between the known and the unknown.
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Robertson, Fiona. "Historical Fiction and the Fractured Atlantic." In Rethinking British Romantic History, 1770–1845, 246–70. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199687084.003.0011.
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Vetter, Lara. "Märchen and Historical Fiction." In A Curious Peril. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054568.003.0004.
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Chapter 3 examines the second half of The Sword Went Out to Sea. This chapter looks at how H.D. combines fairy tale and historical fiction to create the fragmentary vignettes that comprise Part II of the novel. In the second half of Sword, the narrative spins out centrifugally into vignettes that record the history of Britain by focusing on scenes of war and imperialism from the ancient world to the Renaissance. In these vignettes, history is a seemingly endless series of one nation conquering and colonizing another. The unresolvable fracture of narrative form recreates the experience of war, in effect traumatizing her readers. Moreover, by constructing a text of generic hybridity that deconstructs the myriad genres it deploys, she demonstrates the fictionality of nationhood and the impossibility of its representation.
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Oulton, Carolyn W. de la L. "‘Wonderful and mysterious life’." In Down from London, 75–106. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800854611.003.0003.
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Chapter 2 recovers ‘seaside reading’ as both the act of reading by the sea and a type of fiction, often featuring characters who travel to the coast from London. From the mid-19th century seaside reading was aligned with ‘railway reading’ and sensation fiction. In the 20th century the seaside sensation novel increasingly fractured into crime fiction and romantic novels. Meanwhile middlebrow writers strategically capitalised on the demand for holiday reading with a seaside setting, while resisting the designation of their work as ephemeral in the wake of modernist-inflected hierarchies. If 20th century genre fiction has its origins in the Victorian railway and seaside novel, it also shares many of its conflicted attitudes to its own subject matter.
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Cantor, Brian. "Griffith’s Equation." In The Equations of Materials, 249–66. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851875.003.0012.
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Most materials fracture suddenly because they contain small internal and surface cracks, which propagate under an applied stress. Griffith’s equation shows how fracture strength depends inversely on the square root of the size of the largest crack. It was developed by Alan Griffith, while he was working as an engineer at Royal Aircraft Establishment Farnborough just after the First World War. This chapter examines brittle and ductile fracture, the concepts of fracture toughness, stress intensity factor and stBiographical Memoirs of Fellows ofrain energy release rate, the different fracture modes, and the use of fractography to understand the causes of fracture in broken components. The importance of fracture mechanics was recognised after the Second World War, following the disastrous failures of the Liberty ships from weld cracks, and the Comet airplanes from sharp window corner cracks. Griffith’s father was a larger-than-life buccaneering explorer, poet, journalist and science fiction writer, and Griffith lived an unconventional, peripatetic and impoverished early life. He became a senior engineer working for the UK Ministry of Defence and then Rolls-Royce Aeroengines, famously turning down Whittle’s first proposed jet engine just before the Second World War as unworkable because the engine material would melt, then playing a major role in jet engine development after the war, including engines for the first vertical take-off planes.
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McKeever, Gerard Lee. "The Story of John Galt’s Scottish Novels." In Dialectics of Improvement, 149–84. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441674.003.0005.
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This chapter unearths a sweeping account of the Age of Improvement in John Galt’s brand of non-fictional fiction (‘theoretical history’). It finds Galt exploring the capacity of a modernising society to cope with localised, historically rooted and distinctive cultural forms. His narrative of improvement draws on the first Statistical Account of Scotland in both formal and thematic terms. In Annals of the Parish (1821) and The Entail (1823), local and national cultures can function as cohesive agents that remedy the destabilising effects of rapid change, yet they can also be perverted into a dark influence working to misdirect the effect of global market forces. Galt presents history as a contest over the volatile substance of ‘story’, which his novels rhetorically disavow. His analysis of the law of unintended consequences is permeated by a dry sense of humour. Yet by The Entail, Scottish history has become a catalogue of tragic failures, as the changes wrought by improvement fracture the nation into incompatible alternatives.
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McWilliams, Susan J. "James Baldwin and the Politics of Disconnection." In A Political Companion to James Baldwin. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813169910.003.0004.
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This chapter examines those works of Baldwin’s, both fiction and nonfiction, which are concerned with American citizenship and its complicity with a growing sense of a fractured nationality, reaching beyond explicit white and black racial tension. This work also incorporates Baldwin’s internationalism, exploring his frequent choice to reside in other countries. As the essay suggests, Baldwin’s own disconnection from America allowed him to see its internal disconnection more clearly.
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Ryan, John F. "A Fractured Life." In Gerald O'Donovan: A Life, 205–28. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781800854604.003.0011.
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This chapter argues that O’Donovan led a fractured life from this point onwards due to his relationship with Rose Macaulay, the shadow of which often intruded into his home life, and the intensity and consequences of which can best be glimpsed through their literary relationship, their fictions, and her surviving confessional letters. After the mid-1920s, after Macaulay accused Naomi Royde Smyth of spreading gossip about her affair, she and O’Donovan were seldom seen together in public. His occasional hiking expeditions enabled him to routinely holiday away from his family. Her short story, ‘Miss Anstruther’s Letters’, recalls their ‘secret stolen travels of twenty years’. The chapter also explores O’Donovan’s friendships with Lewis Mumford and H.G. Wells, and finishes with a description of the brief period in 1928 when O’Donovan worked as private secretary to Horace Plunkett, then living in London.
Conference papers on the topic "Fractures, fiction"
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Ivanov, Constantin. "Traumatic Reconstructions and Identity Fractures in Oleg Serebrian’s Novel ‘Cântecul mării’." In Conferință științifică internațională "FILOLOGIA MODERNĂ: REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/filomod.2023.17.16.
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The present article represents an applied analysis of Oleg Serebrian’s novel ‘The Song of the Sea.’ It examines a wide range of literary representations that highlight the disastrous period at the end of World War II and the dramatic consequences that befell the Romanian ethnic population in Bukovina. The author captures the entire oppressive mechanism and how the totalitarian system managed to create identity fractures, leaving deep traumas in the collective memory. Simultaneously, we observed the moral deviation that an ideology can produce, effectively depicted through fictional characters, revealing the entire process of identity erosion in Bukovina. Consequently, we have appreciated the literary value and artistic sensitivity that succeeded in illustrating a world in a mess.