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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".
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Goodman, Sam. "Civil Service Rules: (Post)Colonial Memoir and the Raj Revival, 1970–1985." Literature & History 33, no. 1 (May 2024): 16–36. http://dx.doi.org/10.1177/03061973241247502.
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In the 1970s, the India Office Archive within the British Library began inviting the last generation of the Indian Civil Service and Indian Political Service to commit their experiences to written record. Running until the mid-1980s and eventually producing 135 manuscript memoirs, this archive offers a unique insight into the end of the British Empire, as seen a generation hence. This article argues that these memoirs, generated in a time of crisis and fracture within British national identity, are not only vital historical sources but are a significant body of creative work within the context of acute cultural production of narratives of Empire known as the ‘Raj Revival’. Moreover, in their acknowledgement, inclusion and direct dialogue with colonial fictions from Kipling to Forster, as well as their own aesthetic form, these memoirs are part of the long tendency towards the blurring of the boundaries between fiction and life writing within the historical publishing cultures of British India.
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Sengupta, Oishani. "The Brown Adventure Romance: Chander Pahar and the Management of Racial Capital." Verge: Studies in Global Asias 10, no. 1 (March 2024): 73–107. http://dx.doi.org/10.1353/vrg.2024.a922359.
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Abstract: Can the archetypal imperial adventurer—the hero of empire's interlinked fictions of discovery and conquest—be brown? This question finds expression in a genre of Bengali literature yet to receive significant scholarly attention. Rather than viewing these novels as a case of Bengal "writing back" to the British genre of the imperial romance, I read them as enquiries into the turbulent shifts of race, migration, and fractured self-fashioning in the age of decolonization. Through a closer look at Bibhutibhushan Bandyopadhyay's Chander Pahar or The Mountain of the Moon (1937), the essay demonstrates how traces of indentureship and coolie labor as abject and elided forms of brown/ness fracture both the category of the brown expeditioner and its effect on the stereotypes of the dark continent.
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Birns, Nicholas. "Stolen from the Snows: John Kinsella as Poet and as Fiction Writer." CounterText 6, no. 2 (August 2020): 232–38. http://dx.doi.org/10.3366/count.2020.0195.
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This piece explores the fiction of John Kinsella, describing how it both complements and differs from his poetry, and how it speaks to the various aspect of his literary and artistic identity, After delineating several characteristic traits of Kinsella's fictional oeuvre, and providing a close reading of one of Kinsella's Graphology poems to give a sense of his current lyrical praxis, the balance of the essay is devoted to a close analysis of Hotel Impossible, the Kinsella novella included in this issue of CounterText. In Hotel Impossible Kinsella examines the assets and liabilities of cosmopolitanism through the metaphor of the all-inclusive hotel that envelops humanity in its breadth but also constrains through its repressive, generalising conformity. Through the peregrinations of the anti-protagonist Pilgrim, as he works out his relationships with Sister and the Watchmaker, we see how relationships interact with contemporary institutions of power. In a style at once challenging and accessible, Kinsella presents a fractured mirror of our own reality.
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Kuo, Chia-wen. "Quasi-Bodies and Kafka’s Castle in Sion Sono’s Crime Noir Guilty of Romance (2011)." Acta Universitatis Sapientiae, Film and Media Studies 8, no. 1 (September 1, 2014): 167–81. http://dx.doi.org/10.2478/ausfm-2014-0032.
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Abstract Sion Sono’s Guilty of Romance (Koi no tsumi, 2011) was adapted from an actual crime in Tokyo’s love hotel: an educated woman (a prostitute at night) was found decapitated and her limbs were re-assembled with a sex-doll. Sono renders this through his cinematic narrative blurring the distinction between true crime and fictional sin like Rancière’s idea that everything is a narrative dissipating the opposition between “fact and fiction,” and “quasi-body” becomes a product of human literarity while an imaginary collective body is formed to fill the fracture in-between. In Sono’s story, the victim is a literature professor tormented by an incestuous desire for her father, whose favorite book is Kafka’s Castle. Thus she compares the love-hotel district where she turns loose at night as a castle of lusts. Here the narrative becomes a collective body that puppeteers human “quasi-bodies” in a Kafkaesque spatio-temporal aporia, and time’s spatialized horizontally with the germs of desire spread like a contagion on a Deleuzian “plane of immanence.”
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Kinney, Ramsey C., Bruce H. Ziran, Kurt Hirshorn, Daniel Schlatterer, and Timothy Ganey. "Demineralized Bone Matrix for Fracture Healing: Fact or Fiction?" Journal of Orthopaedic Trauma 24 (March 2010): S52—S55. http://dx.doi.org/10.1097/bot.0b013e3181d07ffa.
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Stephens, T. J., Ross Leighton, and Richard Buckley. "“Cement Disease” in hip fracture patients – fact or fiction?" Injury 51, no. 10 (October 2020): 2097–98. http://dx.doi.org/10.1016/j.injury.2020.07.028.
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Bodnár, Kata. "Aspects of Analysing Trauma Fiction by Observing Lolita’s Impact on the 21st Century Novel, My Dark Vanessa." Folia Humanistica et Socialia 1, no. 2 (June 11, 2024): 5–13. http://dx.doi.org/10.69705/fhs.2023.1.2.1.
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Trauma studies in literature have only appeared towards the end of the 20th century, hence psychological analysis in fiction is a relatively new field, therefore observing pieces of trauma fiction has its challenges. Further improvement of trauma analysis is essential since earlier pieces of the literary canon can gain new interpretations with this method. This article aims to apply several methods of analysing trauma fiction from both psychologists and literary theorists. The focus is on the impact of trauma and its effect on the narrator’s memories making her fractured narration unintentionally unreliable. Consequently, the reader plays a significant part while reading trauma fiction since they are the ones who put the pieces of the story together when the narrator is set back by the overwhelming event. Moreover, due to the fact that repeated trauma is more likely to happen in captivity, it is essential to observe the setting of the novel. The emphasis is not only on the physical setting but also, due to PTSD, on psychological aspects like memories and dissociations.
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Yin, M. T., and M. J. Glesby. "Low Bone Mineral Density, HIV Infection, and Women: Fracture or Fiction?" Clinical Infectious Diseases 42, no. 7 (April 1, 2006): 1021–23. http://dx.doi.org/10.1086/501025.
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Sadek, Rima. "Liminality, Madness, and Narration in Hassan Blasim’s “The Nightmares of Carlos Fuentes” and “Why Don’t You Write a Novel Instead of Talking about All These Characters?”." Humanities 12, no. 3 (June 16, 2023): 50. http://dx.doi.org/10.3390/h12030050.
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The fiction of Hassan Blasim addresses the horrors of contemporary Iraq and centers on the crisis of identity that is part of the immigrant’s experience. Blasim’s protagonists try to forget past traumas related to their homeland by developing new identities ingrained solely in the present. Yet, the past resurfaces in the form of nightmarish dreams, madness, and fractured narratives where fiction and reality intersect and overlap. Inhabiting a constant state of liminality imprints itself on the body and psyche of the border crossers and leads to their physical or mental demise. Drawing on theories of madness, liminality, and narration advanced by Shoshana Felman and Michel Foucault, I analyze Blasim’s two short stories “The Nightmares of Carlos Fuentes” and “Why Don’t You Write a Novel Instead of Talking About All These Characters?” I argue that the imaginative space of literary narration, an in-between, liminal space between reality and fiction, is the space where ethico-political paradoxes and the absurdity of real-life trauma, death, and chaos are transformed into a meaningful literary dialogue that can expand reality and offer new spheres of understanding of the trauma that shapes the lives of Blasim’s characters.
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Lankford, Bruce. "Fictions, fractions, factorials and fractures; on the framing of irrigation efficiency." Agricultural Water Management 108 (May 2012): 27–38. http://dx.doi.org/10.1016/j.agwat.2011.08.010.
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Gutman, Jennifer. "Scenario Fiction and the Novel Claims of Insurance." Novel: A Forum on Fiction 56, no. 3 (November 1, 2023): 410–29. http://dx.doi.org/10.1215/00295132-10750577.
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Abstract Emerging during a Cold War era of nuclear uncertainty, refined in decades of neoliberal turbulence, and used today for modeling climate futures, scenario thinking has now entered the domain of the Anthropocene novel. This article argues for the adoption of scenarios as a formal strategy of two contemporary realist novels engaged in updating the genre to present scales of crisis: Tom McCarthy's Remainder (2005) and Ben Lerner's 10:04 (2014). As these novels process new forms of risk in a time of epochal fracture, they likewise signal a conceptual break in realism's capacity to imagine new configurations for the present based on the shape of things past. Scenarios prioritize plausibility over predictability, emphasizing the importance of storytelling in processing an age of planetary crisis while also showing the limits of statistical methods of world-building. By attending to the many configurations that could emerge from the volatile state of the present, scenario fiction seeks to preempt unmediated outcomes and insure the novel's critical extension into all possible futures.
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Tzeis, S., E. J. Rummeny, and C. Kolb. "Radiologically identified fracture of an implantable cardioverter defibrillator lead: fact or fiction?" Europace 11, no. 5 (January 26, 2009): 634. http://dx.doi.org/10.1093/europace/eup002.
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Miranda, Fernanda Rodrigues de. "Maria Firmina dos Reis: a fundadora negra de outra tradição literária brasileira." Cadernos de Literatura Comparada, no. 43 (2020): 61–74. http://dx.doi.org/10.21747/21832242/litcomp43a4.
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In this paper we analyze the work Úrsula (1859), by Afro-Brazilian writer Maria Firmina dos Reis, pioneer in the publication of the novel and the abolitionist content in Portuguese-language fiction. Through some general lines about the context of the work, the observation of the preface and the constitution of black characters, the objective is to highlight the extent to which the work operates a fracture to the colonial order as a unique framework for black people, establishing a new tradition in Brazilian literature
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Ball, James R. "Eye Contact: Mesmeric Revelations in Baltimore." TDR/The Drama Review 62, no. 4 (December 2018): 81–104. http://dx.doi.org/10.1162/dram_a_00794.
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In Baltimore in 2015, Submersive Productions staged The Mesmeric Revelations! of Edgar Allan Poe, an immersive spectacle based on the women populating Poe’s fiction and personal life. Also in Baltimore in 2015, Freddie Gray, an African American man, was killed by Baltimore police, leading to mass protests and civil unrest. A striking coincidence between the two events suggests that immersive spectatorship intensifies our political experience of the social forces that make us subjects, indicating new ways for theatre to address a nation that has always been fractious and fractured.
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Henson, Donna F. "An Unauthorized Autoethnography of the Academic Life of Dr X." Cultural Studies ↔ Critical Methodologies 17, no. 4 (April 24, 2017): 316–19. http://dx.doi.org/10.1177/1532708617706123.
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A layered, fractured text, this piece plays in the space afforded by an invitation to reflect on neoliberalism in the academy. Seeking by way of story to make sense, make meaning of the personal in the political, the author finds herself in a poetic “ruminarrative” accounting of the fragments, the fictions, and the funnies that define (and defy) this academic life.
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Parsons, Cóilín. "The Turd in the Rath: Antiquarians, the Ordnance Survey, and Beckett's Irish Landscapes." Journal of Beckett Studies 22, no. 1 (April 2013): 83–107. http://dx.doi.org/10.3366/jobs.2013.0059.
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This paper engages with one of the potential sources to which the experience of being lost, or misrecognising the landscape, that is so common in Beckett's work might be traced. Linking Beckett's often ignored early collection of short stories, More Pricks Than Kicks, to the abstract landscapes of the post-war fiction, allows us to trace an interest in unsettled places to a much earlier point in Beckett's work than is usually allowed. The interest in antiquities so prevalent in the early fiction emerges from a larger national conversation in Ireland about the preservation of the Gaelic past in the face of capital's push for abstract space. This work of preservation was begun by the Ordnance Survey in the 1830s, and the Survey's abstract representations of a landscape fractured by colonialism bears many resemblances to Beckett's early landscapes, which this paper traces. The tendency towards placelessness was already a key component of Beckett's most placed early work – he recognised that the landscape of Ireland was radically alienated from itself.
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Dawes Durneen, Lucy. "Contagious symptoms: The need to tell stories and the health of the form." Short Fiction in Theory & Practice 12, no. 1 (April 1, 2022): 3–6. http://dx.doi.org/10.1386/fict_00044_2.
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Lucy Dawes Durneen introduces the first of two Special Issues of Short Fiction in Theory and Practice dedicated to the theme of ‘the health of the short story’. She considers the short story’s formal affinity with instability, fractured spaces and the fragility of existence, along with its ability to heal. She also comments on the way in which metaphors drawn from health are often deployed in relation to anxieties about the status and the survival of the short story form. She reflects on the literary context of writing and publishing during the COVID-19 pandemic and introduces the reader to the contents of the journal.
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Yuan, Mingqing. "The Myth of Zheng He: Kenya-China Encounters in Yvonne Owuor's The Dragonfly Sea." Afrika Focus 33, no. 2 (March 11, 2020): 11–26. http://dx.doi.org/10.1163/2031356x-03302004.
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The year 2005 marked the 600th anniversary of Zheng He’s first voyage on the Indian Ocean and the 50th anniversary of the Bandung Conference. In the same year Mwamaka Sharifu, a girl from La mu island in Kenya, also a descendent of sailors of Zheng He’s fleet (1405-1433). was awarded a scholarship to study in her “home country”. In 2019, the novel The Dragonfly Sea by the Kenyan female writer Yvonne Adhiambo Owuor, which incorporates the story of Mwamaka Sharifu, was published by Alfred A. Knopf By using the concept of “fictive ethnicity”, proposed by Bali bar, and “push back”, as articulated by Ruth Simbao, this paper tries to explore how the history of Zheng He is adopted and narrated to construct, blur or refute boundaries of nation and ethnicity in The Dragonfly Sea. It also investigates how fictional writing, both aesthetically and culturally, intervenes and responds to the dominant discourses surrounding “China-Africa” by exhibiting the ambiguity and nuances within. It shows that an epistemological and discursive fracture exists between Africa and China that leads to a binary construction of the myth of Zheng He, which might be effective to some degree but runs the risk of repeating nation-state and ethnic configurations.
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Kudrjavtseva, Tanja. "A Fracture in Time: On the Chronotope of Colonisation in a Science Fiction Novel." Nordlit 4, no. 2 (October 1, 2000): 149. http://dx.doi.org/10.7557/13.2111.
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Tomozawa, M., C. Y. Li, and T. M. Gross. "Fictive temperature of fracture surface of a silica glass." Journal of Non-Crystalline Solids 356, no. 23-24 (May 2010): 1194–97. http://dx.doi.org/10.1016/j.jnoncrysol.2010.04.016.
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Tan, Ian. "The Ethics of Animal Excess: Violence and Bataillean Vigilance in Ian McEwan's Black Dogs." Narrative 31, no. 3 (October 2023): 308–23. http://dx.doi.org/10.1353/nar.2023.a908404.
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ABSTRACT: This essay offers a different reading of the ethical imagination in Ian McEwan's fiction from that of human responsibility towards otherness propounded by Emmanuel Levinas. Long regarded as a natural philosophical interlocutor to McEwan, Levinas's concepts of alterity and the transcendence of the other seem to crystallize intersubjective encounters in McEwan's fiction and promote an ethical attitude of peaceable relations between human beings who do not negate the primordiality of the other's presence. I suggest certain difficulties with an unqualified adoption of a Levinasian ethical approach, centered around contradictions inherent in Levinas's qualifications of otherness which negate its radical impact on a coherent account of subjectivity. These objections will allow me to turn to an ethics of transgression and loss as set out by Georges Bataille. Bataille's ideas about excess sets up a dialectical thinking about limits and their fracture which enables an alternative reading of ethics and narrative structure in Ian McEwan's Black Dogs . I demonstrate how Bataille offers a more compelling reading of otherness and the eccentric nature of the ethical self than Levinas, and how this reading is enacted in McEwan's handling of narrative structure and metafictional technique in the novel, stringing together a powerful reimagining of responsibility and political vision in the aftermath of excessive violence.
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Cohen, Signe. "A Posthuman Dharma: Enthiran 2.0." Religions 13, no. 10 (September 22, 2022): 883. http://dx.doi.org/10.3390/rel13100883.
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S. Shankar’s 2018 Tamil language science fiction film 2.0, the stand-alone sequel to his 2010 blockbuster Enthiran, presents a bleak vision of a near-present time when obsession with technology has led to deteriorating human relationships as well as destruction of the natural world. The film articulates a posthuman dharma founded on the understanding that humans have an ethical obligation towards all living things, not merely other humans. The film posits the individual as fractured and unstable but valorizes the interconnectivity of humans and non-humans, which is underscored by the film’s innovative evocation of the rasas of classical Indian aesthetics in the context of non-human agents. This essay argues that 2.0 presents a Hindu-inflected ecological posthumanism as the only viable alternative to a dystopian future.
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Azeem, Madeeha, Syeda Mariam Fatima Kazmi, and Muhammad Akram Mankash. "Identity Politics in Ayad's Homeland Elegies: A Diasporic Study." Spry Contemporary Educational Practices 3, no. 1 (January 2024): 664–80. http://dx.doi.org/10.62681/sprypublishers.scep/3/1/36.
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Introduction: "Homeland Elegies" by Ayad Akhtar (2020) is a deeply personal exploration of identity and belonging in a fractured nation. Blending fact and fiction, this work narrates a story of longing and dispossession in the post-9/11 world. It intertwines family drama, social commentary, and picaresque elements, focusing on the relationship between a father, a son, and their shared homeland. Methodology: Akhtar employs a new narrative voice to depict a country ravaged by financial ruin and compromised ideals. The narrative highlights the fear experienced by immigrants and critiques a society led by a TV personality as president. Postcolonial diaspora theory and hybridity serve as significant theoretical tools to construct the conceptual framework. Results/Findings: The novel reveals how unhealed wounds from 9/11 continue to impact the world, portraying diverse settings from American heartland towns to European suites and Afghan guerilla hideouts.
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Underwood, Ted. "Machine Learning and Human Perspective." PMLA/Publications of the Modern Language Association of America 135, no. 1 (January 2020): 92–109. http://dx.doi.org/10.1632/pmla.2020.135.1.92.
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Numbers appear to have limited value for literary study, since our discipline is usually more concerned with exploring differences of interpretation than with describing the objective features of literary works. But it may be time to reexamine the assumption that numbers are useful only for objective description. Machine learning algorithms are actually bad at being objective and rather good at absorbing human perspectives implicit in the evidence used to train them. To dramatize perspectival uses of machine learning, I train models of genre on groups of books categorized by historical actors who range from Edwardian advertisers to contemporary librarians. Comparing the perspectives implicit in their choices casts new light on received histories of genre. Scientific romance and science fiction—whose shifting names have often suggested a fractured history—turn out to be more stable across two centuries than the genre we call fantasy. (TU)
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Chances, Ellen. "Dostoevsky and David Foster Wallace: On Parallel Tracks?" Literature of the Americas, no. 11 (2021): 134–54. http://dx.doi.org/10.22455/2541-7894-2021-11-134-154.
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The article discusses ways in which David Foster Wallace engages with Dostoevsky’s life and works. The article points out that Wallace’s commencement speech, “This Is Water,” makes no direct references to Dostoevsky, yet the moral and spiritual values that he enunciates share common ground with those of the Russian writer. The article then turns its attention to Wallace’s review of four of Dostoevsky scholar Joseph Frank’s five volumes devoted to Dostoevsky’s writings, life, and the historical, intellectual, and cultural contexts into which they fit. Wallace admires the way in which Dostoevsky’s novels address important issues, including isolation and nihilism, facing Russia in the 1860s. The American writer sees a similarity between that isolation of the 1860s and the isolation prevalent in the United States in the 1990s. The article then analyzes Wallace’s 1996 novel, Infinite Jest, and the ways in which he indirectly weaves into the text references to Dostoevsky’s fiction, primarily, but not exclusively, The Brothers Karamazov. Also discussed are a few parallels with Notes from Underground, Crime and Punishment, The Idiot, and Demons. The article describes Wallace’s focus on the detrimental effects that isolation leads to in contemporary America. The article explains that Wallace declared that in Infinite Jest, he wanted to reflect the distracted, fractured way in which contemporary people think. The article states that given this goal, it makes sense that the references to Dostoevsky’s works in Infinite Jest are also fractured. They are in bits and pieces.
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Yit. "Personal Narratives of Mental Illness: Redressing Madness in the Singaporean Fiction of Amanda Lee Koe." Humanities 8, no. 2 (April 6, 2019): 70. http://dx.doi.org/10.3390/h8020070.
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Amanda Lee Koe’s short stories (2013) redress the limited tolerance for the mad citizen-subject, whose subjectivity is obscured, if not erased, by medical prescriptions. Official and often state-sanctioned conceptualizations of the peculiar mind are grievously justified in behavioral manifestations deemed socially unacceptable. Koe’s stories about idiosyncratic Singaporeans illustrate the way personal experiences—of memory loss, homosexual tendencies, and emotional self-expressions—are informed by, and in turn inform, the biopolitical regulation of Singaporean citizens rendered objects of biopower. In this way, her stories invite a meditation on the state, people and power. Foregrounding fractured and unorthodox characters, these stories serve to intensify individual voices articulated in personal narratives addressing affective experiences, including sadness culminating in loneliness. Furthermore, the stories attest to socially constructed norms instigating the repudiation and criminalization of sexual deviants. Significantly, they add to the “cultural apparatus”—which C.W. Mills defines as “the source of Human Variety—of styles of living and of ways to die”—by questioning the nation’s ideological imperatives, including heterosexual norms, social insistence on mono-cultural marriages and state/family-endorsed medical intervention. Offering a critique of ideological state apparatus embedded within the power structures inherent to psychopathology, Koe’s Ministry of Moral Panic challenges the established ways of viewing “Others” who are ostensibly “mad”. Consequently, her stories mediate a broadening human experience, by calling for inclusivity amid the social rejection and insular treatment of afflicted subjects with alleged disorders.
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Rivera, Ángel A. "The Spanish Caribbean Confederation: Modern Subjectivities and a Rhetoric of Failure." Small Axe: A Caribbean Journal of Criticism 24, no. 1 (March 1, 2020): 53–60. http://dx.doi.org/10.1215/07990537-8190565.
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This essay explores Eugenio María de Hostos’s and Ramón E. Betances’s notions of modern subjectivities, in the context of Romantic narratives, to index the fractures of collective and communal nationalist imaginaries within the Caribbean Confederation. Hostos and Betances were champions of the Antillean Confederation’s idea, but one must wonder why two modern political thinkers recur to the representation of unsuccessful heroes in their fictional texts. Through literary rhetoric, Betances and Hostos proposed a modern subjectivity that could promote national unity and collective political solidarities. Yet, surprisingly, their literary characters are instead inserted in a discourse that verges on a rhetoric of failure that contradicts the positive modern impulse of national/regional constructions.
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Mandal, Sudeshna. "Freedom or Suffering: Post-Partition Memories and Fractured Identity Reflections in Jhumpa Lahiri’s Select Short-Fictions." Green University Review of Social Sciences 7, no. 1-2 (November 6, 2022): 105–11. http://dx.doi.org/10.3329/gurss.v7i1-2.62684.
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The liberation of India from British domination in 1947 was the most significant historical event in the South Asian history. Despite the fact that freedom promised only liberty, equality, and fraternity, the only result was widespread violence, which eventually led to British-India being divided into two sovereign dominions (India and Pakistan). This Partition resulted in the loss of houses, properties, friends, relatives, and, most importantly, identity. The purpose of this paper is to look at how Jhumpa Lahiri addresses diasporic concerns, unpleasant partition experiences, and fractured cultural identity in two of her short- stories, “When Mr. Pirzada Came to Dine” and “A Real Durwan”, from her collection, Interpreter of Maladies. Lahiri, an Indian immigrant from the United Kingdom, is well aware of the difficulties that immigrants experience in their host country. She has brilliantly depicted the painful consequences of partition in the works described above, especially the bloodshed that occurs during the civil war between East and West Pakistan. The goal of this article is to examine how Lahiri uses these two short stories to emphasize the deceiving features of freedom.
Green University Review of Social Sciences Dec 2021; 7(1-2): 105-111
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VANDOME, ROBIN. "American Scientists and Their Fictions: Professional Authorship and Intellectual Identity, 1870–1900." Journal of American Studies 53, no. 2 (December 13, 2017): 478–506. http://dx.doi.org/10.1017/s0021875817001852.
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Writers and critics in the Gilded Age United States frequently debated the relations between literature and science. A common contemporary interpretation of this relationship held that these two ways of knowing and writing were fundamentally opposed and that the advancement of science in American culture came at the expense of literary sensibilities. Nevertheless, and often as an effort to challenge this supposed opposition, many scientists also cultivated reputations as literary figures, and produced or planned diverse works ranging from travel writing and novels to verse drama. Such authors as Clarence King, J. Peter Lesley, Simon Newcomb and Nathaniel Southgate Shaler sustained a hybrid literary–scientific culture in the late nineteenth century. This interdisciplinary cultural zone was fragile and increasingly fractured by around 1900, as the emergence and consolidation of new categories of intellectual labour became increasingly wedded to the images of the “professional author” and the “scientist” as mutually exclusive identities. This article seeks to contribute to recurrent debates about the “two cultures” of literature and science by foregrounding the differentiation of these new forms of professional and intellectual identity as a decisive factor which constrained the possibility of a shared literary–scientific culture by the turn of the twentieth century.
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Mosito, Phomolo. "MEMORY IN LIMBO: THE RECONSTRUCTION OF IDENTITY IN MATING BIRDS (1986) BY LEWIS NKOSI." Imbizo 6, no. 2 (June 21, 2017): 49–56. http://dx.doi.org/10.25159/2078-9785/2806.
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Lewis Nkosi’s novel, Mating birds (1986) offers a significant intervention in a history as dispersed and fragmented as South Africa’s, by focusing on those specific and critical episodes of South Africa’s past. This much-colonised country has had an extended history of perennial violence under colonialism and apartheid Some fiction by Black writers on this phenomenon may be seen to be reactive, what Njabulo Ndebele (South African writer) terms ‘Protest Literature’-and seeks to show black people as victims (Ndebele 1994). Nkosi’s novels, Mating birds (1986) in particular reverse this order through the narratives of different characters, illustrating that black people were not the passive victims of apartheid but played an active role towards its opposition and eradication. This is achieved through complex portrayal of the first-person narrative technique and interstices of memory and recall. This article explores how identity as a porous and fluid, and fragmented and fractured concept that could be used to describe the individual or communa traits of some characters, and space (prison) are portrayed in Lewis Nkosi’s Mating birds (1986).
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Shaw, Jan. "Translating the Love Plot: Rewriting the Colonization of Cilician Armenia in the English Prose Melusine." Mediaevalia 44, no. 1 (2023): 243–77. http://dx.doi.org/10.1353/mdi.2023.a913481.
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Abstract: Jean d'Arras's romance Mélusine (1393) has been referred to as a "Founding Fiction" of medieval France. Around 1500 it was translated into English. Focusing on the Cilician Armenian episode, this paper finds that the colonizing imperative of d'Arras's text is resisted in the English translation. A comparison of the two versions reveals that the love relation depicted as seamless in d'Arras's version is fractured in the English translation, destabilizing the hegemonic identities of the chivalric hero and courtly heroine. The failure of the love relation and the sacrifice of the courtly heroine in the English text can be read as resistance to the sanitization of Lusignan ascendancy and the imagined community of a unified Christian/Lusignan world that d'Arras's text presents. Reading the relationship crisis through the lenses of Monique Scheer's practice theory of emotions, and Luce Irigaray's and Homi Bhabha's theorizations of mimicry, this essay argues that the English text invites a comparison with history. In this way the English text makes a space for local Cilician Armenian histories, which d'Arras's version appropriates and instrumentally consumes.
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GUYOT-RÉCHARD, BÉRÉNICE. "TOUR DIARIES AND ITINERANT GOVERNANCE IN THE EASTERN HIMALAYAS, 1909–1962." Historical Journal 60, no. 4 (July 6, 2017): 1023–46. http://dx.doi.org/10.1017/s0018246x17000073.
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AbstractBetween the early twentieth century and the 1960s, the Indian state began to incorporate the easternmost Himalayas. This article illuminates this state-making process by examining its material and communicative culture, embodied in tour diaries. These diaries were not private reflections written during one's spare time but the compulsory output of administrative tours. Often followed by more reflective notes, their perceived insights were used to determine local or general policy changes. Drawing on a literature that sees paperwork as constitutive of bureaucracy, this article argues that tour diaries exemplified and buttressed a certain form of frontier governance, marked by itinerancy and personalization well into independence. In their historical development, their language and materiality, their administrative usage, tour diaries embodied more than anything else the contingent, spatially uneven, and fractured nature of Indian state-making in the Himalayas, revealing the importance of process geographies anchored in paperwork circulation for its sustenance. Transmitted whole or extracted into policy files, diaries tied wandering officers together in a distinctive community of practice, policies, and ideas – preserving the fiction of the frontier state as a coherent whole in uncertain circumstances. As much as through maps, regulations, and routes, the frontier was made through writing.
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Rademacher, Virginia Newhall. "Trump and the Resurgence of American Noir." Persona Studies 2, no. 2 (December 7, 2016): 90–103. http://dx.doi.org/10.21153/ps2016vol2no2art617.
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This essay examines the political persona of Donald Trump as mediated by the imagery of hardboiled detective fiction and film noir. By evoking and distorting noir’s challenge to the status quo, its suspicion of systems of power and questioning of dominant norms, Trump has fashioned his political persona in ways that deliberately revise the popular conception of the hardboiled hero as brash-talking rebel at the margins of a corrupt system. Reading Trump’s persona through the mediating function of noir exposes how Trump’s rhetoric plays on, and benefits from, a theme of citizen estrangement while simultaneously reinforcing political expediency and self-interested power. Moreover, it is not only Trump who uses noir imagery provocatively to shape his political image. The media have also participated in crafting images of Trump as either entertaining disruptor or more darkly destabilising. As responses to crises of capitalism, corruption, and social fracture, noir narratives provide critical ways of investigating periods of disequilibrium and their resurfacing in the present. Analysing the production, expression, and reception of Trump’s political persona through the historical and discursive structures of noir underscores the salience of the study of persona to reveal underlying fissures in current American politics and society.
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Moszczyńska, Joanna M. "Jewish Brazilian Post-Holocaust Fiction: The Body as a Source of Polymorphous Memory Discourse in Cíntia Moscovich’s Por que sou gorda, mamãe?" Latin American Jewish Studies 1, no. 1 (January 1, 2022): 21–34. http://dx.doi.org/10.26613/lajs.1.1.3.
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Abstract In this article, I propose a reading of the Brazilian novel Por que sou gorda, mamãe? (2006) through the prism of the body as an oblique signifier of polymorphous post-Holocaust memory discourse. I will be employing the idea of the “strange body” in the following, that is, an experience of estrangement that can arise from trauma-induced conflict or fracture and “is capable of testifying to complexes of social operations and realities well beyond not only a given subject, but also a given generation” (Atkinson 2017, 34). In Cíntia Moscovich’s novel, this strange-bodiness is articulated through the uncanny presence of an obese Jewish female body; a body which bears witness to a subversive force of trauma and denounces the fascist ideology within the continuities of subtly intertwined European and Brazilian histories. European Jewish life in shtetlech, pogroms, exile, and the Holocaust merge not only with the Brazilian context of Jewish immigration, but also with the history of Brazilian military dictatorship (1964-1985).
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Braun, Benedikt J., Nils T. Veith, Mika Rollmann, Marcel Orth, Tobias Fritz, Steven C. Herath, Jörg H. Holstein, and Tim Pohlemann. "Weight-bearing recommendations after operative fracture treatment—fact or fiction? Gait results with and feasibility of a dynamic, continuous pedobarography insole." International Orthopaedics 41, no. 8 (April 19, 2017): 1507–12. http://dx.doi.org/10.1007/s00264-017-3481-7.
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NABIH, ZAKARIYAE. "Forms and Acts of Resistance in Amin Maalouf’s Leo the African." International Journal of English Language Studies 5, no. 2 (May 23, 2023): 94–102. http://dx.doi.org/10.32996/ijels.2023.5.2.9.
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This article, which is entitled ‘Forms and Acts of Resistance in Amin Maalouf’s Leo the African’, is about the problematic power and resistance in a novel which is set in Islamic Spain. The idea behind this paper is that power relations, albeit lopsided, are not absolute in this novel but fluid. Not to mention that it is not unilateral as commonly thought of but--multilateral. Indeed, the setting of this Moorish novel is informed by religious and cultural tensions and the Spanish Inquisition in the Crescent and Christendom relation of power. It talks about an era prior to the epistemic and physical aggression on Moorish culture in 1492 and the failure of the Moor-Spaniard capitulación and convivencia. But since power and resistance figure immensely in this text, the analysis problematizes that relationship following the approach of the Foucauldian post-modern, positive conception of power. The object of analysis is treated as fiction, and the underlying methods are content analysis. The thesis concludes that power is fractured from within by other discourses. Besides, the problem of power and resistance is part of what is called centripetal and centrifugal dynamics: Power oscillates between two contending blocs and is, therefore, never static; these are a potion, a cocktail mix.
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Andrews, Chad. "Between Mania and Phobia." Extrapolation: Volume 61, Issue 3 61, no. 3 (December 1, 2020): 269–96. http://dx.doi.org/10.3828/extr.2020.15.
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The 1980s in the United States are now understood as years of widespread cultural and ideological fracture. Neoliberalism became the nation’s economic mantra, détente was jettisoned in favor of military build-up, and conservative backlash movements surfaced to counter the feminist gains of previous decades. These and other developments materialized out of a multitude of conflicts, a crisis of ideas, words, and practices competing to maintain or rework the nation’s defining structures. This paper argues that technology played a central role in the decade’s discordant years, both materially and ideologically, and that certain works of feminist science fiction—particularly by Lois McMaster Bujold, who is the focus here, but also Sheri S. Tepper, Octavia E. Butler, Joan Slonczewski, and others—imagined new structures and practices embedded within the confines of modern technoculture. By doing so, they avoided a prevailing dichotomy conceptualized by Carol Stabile: either technomania, a headlong, manic rush into all things technological, or technophobia, a retreat from such things into a romanticized and idyllic past. Situated between mania and phobia, these works imagined alternatives to the kind of binary thinking that dominates our political climate, as well as visions of what a radically reformed—but also deeply technological—society could look like.
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Golden, Audrey J. "“The Terrible Genius of Literature”: Reassessing Reconciliation in Nadine Gordimer’s The House Gun." Law, Culture and the Humanities 14, no. 1 (January 18, 2015): 100–120. http://dx.doi.org/10.1177/1743872114566367.
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During the three years in which Gordimer drafted The House Gun (1998), she relied heavily on South African case law, international jurisprudence, and the discerning editorial eye of Nelson Mandela’s lawyer, George Bizos. As such, my reading of The House Gun brings new attention to the novel’s engagement with the reconciliatory efforts of the Truth and Reconciliation Commission and the juridical work of the South African Constitutional Court to redefine the terms of reconciliation in the country. Through language in a fictional courtroom, Gordimer’s novel turns the process of repair into one that is always immediate and ongoing. It shifts the primarily retributive focus of the law into a reparative and open-ended endeavor. Justice no longer is something that “is done,” Gordimer explains, but rather is a process equally conceived by law and literature. The novel depicts harm in terms of the interpersonal, spatial, and legal fractures it creates. In this way, it expresses reconciliation in the Commission’s language of bridging an injurious past with a present always open to healing.
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Reis, Carlos. "LEITURA E REPRESENTAÇÃO DE UM DRAMA: o espaço no sistema de ensino." Cadernos de Pesquisa 28, no. 4 (December 30, 2021): 491. http://dx.doi.org/10.18764/2178-2229v28n4.202175.
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O presente artigo parte de um testemunho pessoal e assume deliberadamente a literatura como campo de referências e de imagens. Acredita-se que se ela serve para alguma coisa será também para nos dar testemunhos em discurso ficcional, note-se, do que são e significam espaços, volições, representações e valores, em sinuosa conexão com a nossa vida e com o nosso trânsito social. A “leitura e representação de um drama” que aqui se desenvolve implica uma problematização do espaço em função de várias dimensões, variavelmente envolvidas em práticas de ensino. Numa acepção particular que merece especial atenção, os espaços do ensino são objetos de representações literárias, modelizando fraturas sociais, culturais, pedagógicas muito importantes, também por delas serem indissociáveis valores e atitudes ideológicas.Palavras-chave: literatura; espaço no sistema de ensino; representação.LECTURA Y REPRESENTACIÓN DE UN DRAMA: el espacio en el sistema de enseñanzaResumenEl presente artículo parte de un testimonio personal y asume deliberadamente la literatura como campo de referencias e imágenes. Se cree que, si sirve para algo, será también para darnos testimonios en discurso ficcional de lo que son y significan espacios, voluntades, representaciones y valores, en sinuosa conexión con nuestra vida y con nuestro tránsito social. La “lectura y representación de un drama”, que aquí se desarrolla, implica una problematización del espacio en función de diferentes dimensiones, variablemente relacionadas con prácticas de enseñanza. En una acepción particular que merece atención especial, los espacios de enseñanza son objetos de representaciones literarias, modelizando fracturas sociales, culturales y pedagógicas muy importantes, también porque son indisociables sus valores y actitudes ideológicas.Palabras clave: literatura; espacio en el sistema de enseñanza; representación.READING AND REPRESENTATION OF A DRAMA: space in the education systemAbstractThis article starts from a personal testimony and deliberately assumes literature as a field of references and images. It is believed that if it is somehow useful, it will also be to give us testimonies, in fictional discourse, of what spaces, volitions, representations and values are and mean, in a sinuous connection with our life and with our social transit. The “reading and representation of a drama” that is developed here implies a problematization of space in terms of several dimensions, which are variably involved in teaching practices. In a particular sense that deserves special attention, teaching spaces are objects of literary representations, modeling very important social, cultural and pedagogical fractures, also because they are inseparable from ideological values and attitudes.Keywords: literature; space in education system; representation.
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MENDES, ANA CRISTINA. "The Eruption and Ruination of ‘Rising India’: Rana Dasgupta's Capital and the temporalities of Delhi in the 2010s." Modern Asian Studies 53, no. 04 (December 7, 2018): 979–1003. http://dx.doi.org/10.1017/s0026749x17000464.
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AbstractIn 2000, the writer Rana Dasgupta moved from New York to Delhi, reversing his father's act of migration in the 1960s, to find a new, but already obsolescent, ‘rising India’. This was the India of the economic boom, whose extent and import have been increasingly under scrutiny. With reference to the temporalities of ‘rising India’, the purpose of this article is to examine the representation of globalization's multiple temporalities in Dasgupta's non-fiction work Capital: The Eruption of Delhi (2014). Capital is a returnee author's personal attempt to inhabit the multiple temporalities of Delhi, wherein the pull of globalization—here understood as neo-liberal corporate economic globalization—is alternatively embraced and resisted. This article argues that the conceptual limitations of the multiple-modernities framework are reflected in Dasgupta's representation of the multiple temporalities of globalization. It is through politicized and territorialized genealogies of ‘imperial debris’ such as Dasgupta's that we can arrive at new critiques of modernity. At the same time, this article is concerned with the ways in which Dasgupta's fractured and multi-temporal present of Delhi, inhabited by the old and the new, is being captured by a returnee from the United States of America to India who is concurrently the ‘other’ from ‘abroad’ and the ‘same’ at ‘home’. Ultimately, the book's re-Orientalist frame underscores, from the outset, the difficulty in decoupling ideas of modernity and progress from a Eurocentric, Enlightenment project.