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Journal articles on the topic 'Freak shows in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 January 2023

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1

Carducci, Jessica. "A Freak Show in District 9." Digital Literature Review 3 (January 13, 2016): 136–48. http://dx.doi.org/10.33043/dlr.3.0.136-148.

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In District 9, the body of the main character, Wikus van de Merwe, becomes a battleground for the competing cultures of human and alien. But while it is widely recognized that the film is a science fiction metaphor for the Apartheid, less discussed are the parallels between Wikus’s story and that of the historical freak. This essay looks at the way in which Wikus’s transformation and clashing identities make him the star of Johannesburg’s own alien freak show.

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2

Tromp. "The Victorian Freak Show: The Significance of Disability and Physical Differences in 19^th-Century Fiction, by Lillian Craton." Victorian Studies 53, no. 4 (2011): 727. http://dx.doi.org/10.2979/victorianstudies.53.4.727.

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3

Ambroży, Paulina. "Performance and Theatrical Awect in Steven Millhauser’s Short Story “The Knife-Thrower”." Polish Journal for American Studies, no. 12 (Spring 2018) (April 30, 2022): 185–96. http://dx.doi.org/10.7311/pjas.12/1/2018.13.

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Audiences and performances figure prominently in Steven Millhauser’s short stories whose plots are often structured around some form of public entertainment (e.g. magic or freak shows, museum displays or automaton dramas). “The Knife Thrower,” “August Eschenberg,” “The New Automaton Theater” or “The Dream of the Consortium,” to name only a few of his numerous “theatrical” pieces, use performance to explore the relation between the figure of a charismatic artist and his spectators. As will be shown in close reading of “The Knife Thrower,” the writer’s representation of a magician’s performance is complexified through his choice of a plural narrative voice which creates a unique subject position for his fictional audiences. Another aspect of the theatrical mode in Millhauser’s story is that the narrative is informed by the tension between stage and offstage realities, with the dramas often “bleeding” into reality and contaminating the characters’ everyday lives. The aim of my inquiry is to look into the aesthetic and moral implications of Millhauser’s use and abuse of performative codes, with a special focus on the role of the collective narrator, the relation between production and reception of art and dramatizations of the porous boundaries between performance and life. The methodological angle adopted for the analysis derives from affective studies of theatrical experience.

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Wegner, Gesine. "Relocating the Freak Show: Disability in the Medical Drama." Zeitschrift für Anglistik und Amerikanistik 67, no. 1 (March 26, 2019): 19–36. http://dx.doi.org/10.1515/zaa-2019-0003.

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Abstract Through an analysis of various negotiations of disability in House, M.D. and Grey’s Anatomy, my paper discusses the narrative and non-narrative means that make the medical drama such an appealing genre to contemporary audience members. As the most successful medical dramas of the post-millennial era, House, M.D. and Grey’s Anatomy rely heavily on the exhibition of non-normative bodies, the humorous device of re-naming patients, and the narrative construction of disability as unbearable deviance. While Laura Backstrom locates the freak show in non-fictional television formats like the talk show and documentary, my paper illustrates how the medical drama, although at times highly self-reflexive, has become another pervasive relocation of the freak show into contemporary television. In a close reading of Grey’s Anatomy, I further demonstrate how the portrayal of a disabled doctor as a series regular both manifests and challenges some of the normative perceptions of the body that the genre relies on.

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5

Neal, Lynn S. ""They're Freaks!": The Cult Stereotype in Fictional Television Shows, 1958––2008." Nova Religio 14, no. 3 (February 1, 2011): 81–107. http://dx.doi.org/10.1525/nr.2011.14.3.81.

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This article analyzes the stereotypical portrayal of cults on fictional television shows and demonstrates the vital role that this popular culture form plays in the dissemination of anticult ideology. Through an in-depth examination of five episodes that aired between 1998 and 2008, it delineates how these shows employed stereotypical cult elements, such as fraud and violence, as well as contrasts in clothing, setting, and lifestyle to differentiate conventional religion from the dangers and delusions of cults. Further, the article reveals how usage of the cult concept is not limited to the present context and documents the historical pervasiveness of the cult stereotype on television since 1958. By highlighting these patterns, this study shows the power and implications of the cult stereotype. It illuminates how these television shows constitute a powerful force in defining and policing the boundaries of religious legitimacy in American culture.

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6

Adeola. "How to Freak Out Your American Roommate • Fiction." Transition, no. 114 (2014): 163. http://dx.doi.org/10.2979/transition.114.163.

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7

Hampshire, Kathryn. ""Man's Hatred Has Made Me So"." Digital Literature Review 3 (January 13, 2016): 119–35. http://dx.doi.org/10.33043/dlr.3.0.119-135.

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By using artistic conventions only availablethrough cinema, The Phantom of the Opera (1925) manipulates the gaze to create a character so inhuman and unsympathetic, he transcends the position of the freak into the realm of the monster. The silent horror version of this film extends the social construct of the freak into cinema so that, while the freak shows may have been closing their doors, the legacy of the freak lived on.

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Xiang-jun, Yu, Li Qing-hong, and Li Mao-lin. "Numerical Analysis of Wave Characteristic In the Freak Wave-- “New Year Wave” Formation." E3S Web of Conferences 290 (2021): 02013. http://dx.doi.org/10.1051/e3sconf/202129002013.

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Freak waves are both extremely large waves and highly transient time. Such a wave may lead to damage of ships to deaths. In this paper, to describe the connection between freak wave and wave essential factor, we use WAVEWATCH III model simulating “New Year Wave” in the North Sea to explore freak wave, with the importing of ECMWF re-analysis wind field. By this way, we successfully simulate the formation of freak wave in the random wave. Analysis shows large wave steepness and small directional spread angle are necessary conditions for freak waves to easily occur. By analyzing the wave spectrum, it is found that the wave energy is distributed in a small range, and the propagation direction is relatively concentrated.

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9

Brooks, Laken. "Kidnapped Amazonians, Severed Breasts, and Witches." Digital Literature Review 3 (January 13, 2016): 108–18. http://dx.doi.org/10.33043/dlr.3.0.108-118.

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Freak shows are physical and metaphorical,demonstrating a cultural perception of what and who is privileged. In Renaissance England, Shakespeare and Spenser both write of deviant women and perpetuate the stereotypes of foreign women, creating literary “freak shows” in their works Two Noble Kinsmen and The Bower of Bliss. Whether these characters are Amazonian women disinterested in heterosexual romance or promiscuous witches, they are set as spectacle in the confines of their respective texts.

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10

Seitz, Lauren. "Princesses or Monsters?" Digital Literature Review 3 (January 13, 2016): 149–65. http://dx.doi.org/10.33043/dlr.3.0.149-165.

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This essay explores a modern-day incarnationof the historical freak show: the child beautypageant reality show Toddlers & Tiaras. The author draws connections between both freak shows and Toddlers’ use of the concepts of normalcy, display, and consent, which ultimately reveals that shows such as these have a detrimental effect on how audiences view young girls, and the contestants themselves may feel negative about their self-worth and femininity after participating in pageants.

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11

Pitcher, Sandra. "Here Come My 600-Pound Quintuplets: A Discussion of Reality Television as a Freak Discourse." Media and Communication 9, no. 3 (September 13, 2021): 189–97. http://dx.doi.org/10.17645/mac.v9i3.4107.

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History is littered with tales of the absurd, odd, and unusual. From Gorgons and mermaids to bearded ladies and elephant men, people have, for centuries, been fascinated by those who deviate from physical and mental social norms. Such fascinations seemed to peak during the 19th century when showmen, like PT Barnum, bought and exhibited those deemed too different and macabre for “normal” society. However, as science and medicine progressed, and the protection of human rights became more important, freak shows and travelling sideshows dwindled (Nicholas & Chambers, 2016). Society’s fascination with the unusual though, did not. Despite increased political correctness and calls to end “fat shaming,” bullying and the like, reality television appears to encourage “a dehumanising process that actually lessens our regard for other people” (Sardar, 2000). While some writers have considered how reality television exploits stereotypes and links social norms to hegemonic whiteness (Cooke-Jackson & Hansen, 2008; Rennels, 2015), few have commented on the similarities between such programming and the stylings of the 19th century freak show. Utilising Thomson’s (1996) concept of freak discourse, and Bogdan’s (1996) assessment of freak narrative, this article examines how reality television programming as a genre, despite its varied plots, uses a narrative formula that can be likened to 19th century freak shows to enhance its storylines and “produce a human spectacle” (Thomson, 1996, p. 7).

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12

Richardson, Jack, and Jennifer Eisenhauer. "Dr. Phil, Medical Theaters, Freak Shows, and Talking Couches." Journal of Literary & Cultural Disability Studies 8, no. 1 (January 2014): 67–80. http://dx.doi.org/10.3828/jlcds.2014.5.

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13

Pettit, Fiona. "Spectacle of deformity: Freak shows and modern British culture." Early Popular Visual Culture 9, no. 4 (November 2011): 365–67. http://dx.doi.org/10.1080/17460654.2011.621330.

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14

Brzozowska-Brywczyńska, Maja. "Ciała osobliwe w przestrzeni "freak/talk show"." Przegląd Socjologii Jakościowej 8, no. 2 (July 31, 2012): 242–59. http://dx.doi.org/10.18778/1733-8069.8.2.10.

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Odmienność cielesna jest podstawą doświadczania obcości drugiego człowieka. Konfrontacje z ciałami osobliwymi w przestrzeni publicznej pozostawiają nas często bezradnymi, a jednocześnie wymagają wypracowania strategii radzenia sobie z ich obcością. W nowoczesności wykreślone zostały dwie główne ramy dla heterotopicznej cielesności: medykalizacja i normalizacja. Mogłoby się więc zdawać, że w miejscu dotychczasowej przestrzeni pokazów osobliwości zieje pustka. Ślady spektakularnej logiki freak shows da się jednak wytropić w telewizyjnym formacie talk show. Ich zestawienie w tekście nie ma na celu jedynie skonstatowania powierzchownych analogii, ale też wskazanie na głębsze podobieństwa w odniesieniu do reprezentacji cielesnej odmienności oraz poszukiwanie metanarracji usprawiedliwiającej jej obsceniczność. Artykuł zamyka pytanie o możliwość wykorzystania ambiwalencji pokazów osobliwości (jak w performansach niepełnosprawnych artystów) do uobecniania ciał osobliwych w przestrzeni publicznej.

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15

Padgate, Usa. "Unmaking Masculine Determinacy: A Postmodern Challenge in Suzan-Lori Parks’ Venus." MANUSYA: Journal of Humanities 24, no. 1 (June 14, 2021): 164–83. http://dx.doi.org/10.1163/26659077-02401007.

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Abstract Venus, a play written by Suzan-Lori Parks, employs unconventional theatrical approaches in retelling the history of a 19th-century freak show attraction. This study examines how the critique of gender bias and sexual manipulations in Venus is explored and projected in ways that can be described as postmodern. Through the subversion of conventional forms and language, the blending of fact and fiction, the pastiches of both low and high generic and linguistic presentations, the liberating of a marginalized voice, and the revision of the philosophical premises that subordinate the female to the male order, the play questions the masculine determinacy inherent in social institutions and traditions and invites a conscious reconsideration of default meaning and truth.

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16

Qureshi, Sadiah. "Spectacle of Deformity: Freak Shows and Modern British Culture - by Nadja Durbach." Centaurus 53, no. 3 (June 28, 2011): 237–38. http://dx.doi.org/10.1111/j.1600-0498.2011.00229.x.

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17

Assael, B. "Spectacle of Deformity: Freak Shows and Modern British Culture, by Nadja Durbach." English Historical Review CXXVI, no. 522 (September 23, 2011): 1221–22. http://dx.doi.org/10.1093/ehr/cer251.

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18

Dreger, Alice D. "Spectacle of Deformity: Freak Shows and Modern British Culture (review)." Bulletin of the History of Medicine 85, no. 1 (2011): 150–51. http://dx.doi.org/10.1353/bhm.2011.0025.

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19

Fahy, Thomas. "Enfreaking War-Injured Bodies: Fallen Soldiers in Propaganda and American Literature of the 1920s." Prospects 25 (October 2000): 529–63. http://dx.doi.org/10.1017/s0361233300000752.

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With P. T. Barnum's purchase of the American museum in 1840, freak shows became an organized and profitable institution that systematically used juxtaposition, innovative advertising, and questions of truth and humbug to entice audiences. Along with “scientifically” sanctioned pamphlets and cartes de visite, exhibits such as wild savages from around the world, human-animal hybrids, hermaphrodites, and armless and legless wonders played with the boundaries between self and other. Audiences could gaze safely without compunction about the displayed body as long as these distinctions were maintained within the confines of the show. But as social anxieties about difference intensified in the first few decades of the 20th century, a greater need to solidify the boundaries between black and white, male and female, and abled and disabled made this type of entertainment more disturbing and, at times, even dangerous. These concerns marked the beginning of the end for freak shows. By the 1920s, their popularity was not only threatened by changing attitudes in medical science and the rise of the film industry, but also by the aftermath of World War I.

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20

Půtová, Barbora. "FREAK SHOWS. OTHERNESS OF THE HUMAN BODY AS A FORM OF PUBLIC PRESENTATION." Anthropologie 56, no. 2 (2018): 91–102. http://dx.doi.org/10.26720/anthro.17.07.20.1.

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21

Jönsson, Kutte. "Paralympics and the Fabrication of ‘Freak Shows’: On Aesthetics and Abjection in Sport." Sport, Ethics and Philosophy 11, no. 2 (February 17, 2017): 224–37. http://dx.doi.org/10.1080/17511321.2017.1286375.

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22

Bainbridge, Danielle. "The Future Perfect, Autopsy, and Enfreakment on the 19th-Century Stage." TDR/The Drama Review 64, no. 3 (September 2020): 100–117. http://dx.doi.org/10.1162/dram_a_00945.

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The public autopsies of 19th-century enfreaked performers remains a central issue in studies of 19th-century enslavement. While previously black performance studies focused on the instability of the historical past tense, the study of freak shows and enslavement dictates a reckoning with the future perfect tense, which sheds light on the history of the future by asking “what will have been” rather than “what was” or “what could have been.”

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Craton. "Spectacle of Deformity: Freak Shows and Modern British Culture, by Nadja Durbach." Victorian Studies 53, no. 2 (2011): 333. http://dx.doi.org/10.2979/victorianstudies.53.2.333.

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24

Mershon, Ella. "Pulpy Fiction." Victorian Literature and Culture 48, no. 1 (2020): 267–98. http://dx.doi.org/10.1017/s1060150319000548.

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Taking a long view of mycological history, this essay considers how studies of fungal life have modeled fugitive, cryptic, and queer forms of belonging that open the body and the body politic to modes of collectivity that trouble the equation of ecology with holistic closure. Turning to Arthur Machen's The Hill of Dreams, this essay shows how the geographies of desire and belonging created through fungal intimacies make it impossible to speak of either the self-contained individual or ecology in the singular. Open and plural, selves and worlds proliferate, contaminate, and interpenetrate through the infectious touch of fungal relations.

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Boldāne-Zeļenkova, Ilze. "Others among Others: Latvians’ View of Members of Ethnographic Shows." East Central Europe 47, no. 2-3 (November 9, 2020): 261–84. http://dx.doi.org/10.30965/18763308-04702005.

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Abstract In the second half of the nineteenth century, Latvians, like several other non-dominant nations that were part of large European empires, actively argued for their status as a nation and fought for the right to be equal partners in economy and politics and for the recognition of their culture. The process of constructing an ethnic identity involves not only inclusion, but also the formation of boundaries and exclusion, defining characteristics in the public space that separate the group Us from Others, that is, other members of society as well as complete strangers. Groups offering ethnographic and freak shows stopped by the Russian imperial city of Riga with guest performances, arousing interest in the local public. The performers exhibited at ethnographic shows were the different others against the background of local others, and Latvians viewed them with more compassion than sense of superiority.

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26

Lajoinie Dominguez, María Teresa. "Jocko(s), Mazurier et freak-shows : figurations et représentations de l’homme-singe au XIXe siècle." Thélème. Revista Complutense de Estudios Franceses 37, no. 1 (June 3, 2022): 5–14. http://dx.doi.org/10.5209/thel.78899.

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L’objectif du présent article est d’analyser les différentes figurations apparues tout au long du dix-neuvième siècle, autour de l’archétype de l’homme-singe. Ce dernier apparaît bien comme le chaînon manquant, comme l’élément permettant de relier définitivement humanité et animalité. Pour ce faire, nous partirons du personnage de Jocko, protagoniste du drame à grand spectacle Jocko ou le singe du Brésil (1825), en tant que type théâtral premier de l’hybride homme-animal, pour terminer avec les hommes et femmes-singes présentés et/ou exhibés dans les freak-shows qui se popularisent tout au long du siècle. Il s’agit, par ailleurs, de mettre en lumière comment Jocko, mais aussi Mazurier ou Krao Farani, participent de la reconfiguration et redéfinition de l’espace symbolique de la frontière entre l’humain et l’animal animal menées à terme au XIXe siècle.

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Gerber, David A. "Volition and Valorization in the Analysis of the ‘Careers’ of People Exhibited in Freak Shows." Disability, Handicap & Society 7, no. 1 (January 1992): 53–69. http://dx.doi.org/10.1080/02674649266780051.

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28

Hartnett, Elizabeth. "Making a Killing, Bob Torres." UnderCurrents: Journal of Critical Environmental Studies 17 (November 16, 2013): 34. http://dx.doi.org/10.25071/2292-4736/37687.

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San Francisco, AK Press, 2007 Full Text You cannot buy the Revolution. You cannot make the Revolution. You can only be the Revolution. It is in your spirit, or it is nowhere. -Shevek, in The Dispossessed, by Ursula K. LeGuin In a testament to his ability to draw on diverse authors and theories, Bob Torres opens the final chapter of Making a Killing: The Political Economy of Animal Rights with a quote from a science fiction novel, and in so doing he successfully draws together many of the themes of his work. LeGuin's character Shevek hails from a society organized by property-less relationships, complete gender equality and communal living. Shevek travels to the capitalist planet Urras and finds a materially wealthy society plagued by repression, alienation and radical inequality. His revolutionary ideas are quickly shot down. For Torres, Shevek represents a social anarchist perspective that entails a daily commitment to living and embodying the principles that one wants to see practiced in the world. Far from beginning his academic career as an animal rights activist, Torres, assistant professor of sociology at St Lawrence University and co-host of the popular Vegan Freak Radio podcast, originally studied agricultural science. It was a "dairy production" class that initially led him to think more seriously about animal oppression, and the logistics of the commodification of sentient beings under capitalism. Torres was taught to view animals as producers. He learned how a farmer survives in the "go big or go home" world of agribusiness: by squeezing every last bit of production out of animals for the least possible input. Capitalism relies on alienation between "producers" (in this case, cows) and their "products" (their calves, their milk, and eventually, their own bodies), creating a mental distance between consumers and producers that obscures underlying power relations and exploitation. Torres' experiences with production agriculture disrupted this mental distance by revealing the process by which sentient beings become "living machines" for the profit and enjoyment of humans. Torres situates his analysis of animal exploitation and advocacy within broader discussions of Marxist political economy, social ecology, social anarchism, and abolitionist animal rights theory. He challenges all of his readers, regardless of their political inclinations and thoughts on the status of nonhuman animals, to make connections between different forms of oppression, and to examine the power relationships that underlie their attitudes and consumer choices. He implores the Left to consider animals within broader liberation struggles but reserves some of his most powerful critique for the "animal rights" movement itself. He chastises animal advocates who fail to work in solidarity with other anti-oppression movements and whose means are inconsistent with their desired ends. Torres maintains that if capitalism, commodification, and property relations are inextricably linked to animal exploitation, then working from within this paradigm is not a recipe for effective activism. According to Torres, the animal rights movement in its current incarnation as the "Animal Rights Industry" has lost sight of itself and its long-term goals and has been co-opted to the point where it can no longer target exploitation at its foundation. He argues that the movement has become dominated by multi-million dollar organizations with enormous operating budgets that work directly with agribusiness in pursuit of endless welfare reforms. He points to the ongoing "love affair" between animal protection organizations and corporations like Whole Foods, and argues that these alliances actually make animal exploitation more profitable. Despite all of the rhetoric about "compassion", corporations' primary responsibility is towards shareholders. For example, rather than encouraging concerned consumers to stop eating animal products, Whole Foods caters to a niche market willing to pay a premium for "happy meat". Drawing on the abolitionist animal rights theory of Gary Francione, Torres shows how this phenomenon actually perpetuates animal exploitation by reinforcing the idea that animals are property, thereby legitimating their commodification. As the (legal and conceptual) property of humans, animals' subjectivity, their interests in not suffering, and the fulfillment of their natural needs and behaviours all become secondary to the interests of property owners. For these reasons, welfare reforms and anti-cruelty laws inevitably fail to protect the interests of animals. Having argued that we cannot buy a revolution for animals by donating to our favourite animal protection corporation or by purchasing ever more "humane" animal products, Torres maintains that anyone can use their own strengths and talents to bring about social change - all that is needed is a commitment to making a change consistent with one's own principles. Torres empowers his readers to seek affinity with other social movements and to strive for fundamental societal change that strikes at the roots of all hierarchy and domination. Recognizing animal exploitation as a needless form of domination, Torres advocates veganism as a direct refusal to participate in the consumption, enslavement, and subjugation of animals for human ends. Veganism is a daily, lived expression of that ethical commitment, and it embodies the change that animal rights movement seeks to implement.

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Evans, Rhiannon. "Ethnography's Freak Show: The Grotesques at the Edges of the Roman Earth." Ramus 28, no. 1 (1999): 54–73. http://dx.doi.org/10.1017/s0048671x0000182x.

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Blemyis capita absunt, uultus in pectore est. Satyris praeter effigiem nihil humani. Aegipanum quae celebratur ea forma est. haec de Africa.Pomponius Mela Chorographia 1.48The Blemyes lack heads: their faces are in their chests. There is nothing typical of humans about the Satyrs, apart from their superficial appearance. The Aegipanes have the shape described in stories. So much for Africa.How useful are Roman geographical texts? Outrageous claims like the one cited above have invited scepticism concerning the scientific value of geographies and ethnographies produced by Roman authors. To a large extent, the importance attributed to a geographical text will depend on what is being sought from that text. For example, O.A.W. Dilke tells us that, ‘We are fortunate in possessing all seventeen books of the Geography of Strabo,’ and that Strabo ‘shows good critical power in assessing earlier geographical writers and giving us a verbal picture of the known world of the time.’ However, ‘a contrast with Strabo's work is provided by the very simple and popular Chorographia of Pomponius Mela,’ of which Dilke expresses die view that it would have been preferable had Juba II's work survived.

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Ikeo, Reiko. "‘Colloquialization’ in fiction: A corpus-driven analysis of present-tense fiction." Language and Literature: International Journal of Stylistics 28, no. 3 (August 2019): 280–304. http://dx.doi.org/10.1177/0963947019868894.

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Over the past decade, more and more writers have used the present tense as the primary tense for their fictional narratives. This article shows that contemporary present-tense fiction has more lexical and syntactic characteristics which are similar to spoken discourse than past-tense fiction by comparing lexis and structures in two corpora: a corpus consisting of present-tense narratives and a corpus of past-tense narratives. It also discusses how the use of the present tense affects the management of viewpoint in narrative by relating its lexical, structural characteristics to the presentation of characters’ speech and thoughts.

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31

Kaufmann, Sebastian. "Reconstruction--Fiction--Transfer." Transfers 6, no. 3 (December 1, 2016): 65–82. http://dx.doi.org/10.3167/trans.2016.060306.

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Artistic practices in ethnological knowledge transfer can be found in the wellknown account of James Cook’s first voyage (1768–1771) by John Hawkesworth (Account of the Voyages […] in the Southern Hemisphere, 1773), which shows that such travel accounts are not only vehicles of knowledge transfer but also means of knowledge (re)construction, and at times this process of remolding knowledge extends to a rewriting that includes elements of fiction. Hence, the article will draw on the material assembled by Cook and Joseph Banks in their Endeavour Journals to identify in Hawkesworth’s examples of (ethno-aesthetic) knowledge construction and “invention.” A comparison of the diff erent types of texts is rewarding not least because Hawkesworth’s account strove to present the new knowledge to a broader audience. An identification of Hawkesworth’s departures from his sources facilitates the reading of the act of knowledge transfer as a process of knowledge transformation.

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32

Patterson, Jeanne Boland. "Disabling Language: Fact or Fiction?" Journal of Applied Rehabilitation Counseling 19, no. 1 (March 1, 1988): 30–32. http://dx.doi.org/10.1891/0047-2220.19.1.30.

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The concept of disabling language has received increased attention in the last five years. This article identifies a number of interrelated issues and questions about the concept of disabling language. A comparison of word choice in journal titles shows that the use of disability as a noun has declined substantially in eight years.

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Adcock, T. A. A., P. H. Taylor, S. Yan, Q. W. Ma, and P. A. E. M. Janssen. "Did the Draupner wave occur in a crossing sea?" Proceedings of the Royal Society A: Mathematical, Physical and Engineering Sciences 467, no. 2134 (June 15, 2011): 3004–21. http://dx.doi.org/10.1098/rspa.2011.0049.

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The ‘New Year Wave’ was recorded at the Draupner platform in the North Sea and is a rare high-quality measurement of a ‘freak’ or ‘rogue’ wave. The wave has been the subject of much interest and numerous studies. Despite this, the event has still not been satisfactorily explained. One piece of information that was not directly measured at the platform, but which is vital to understanding the nonlinear dynamics is the wave's directional spreading. This paper investigates the directionality of the Draupner wave and concludes it might have resulted from two wave-groups crossing, whose mean wave directions were separated by about 90 ° or more. This result has been deduced from a set-up of the low-frequency second-order difference waves under the giant wave, which can be explained only if two wave systems are propagating at such an angle. To check whether second-order theory is satisfactory for such a highly nonlinear event, we have run numerical simulations using a fully nonlinear potential flow solver, which confirm the conclusion deduced from the second-order theory. This is backed up by a hindcast from European Centre for Medium-Range Weather Forecasts that shows swell waves propagating at approximately 80 ° to the wind sea. Other evidence that supports our conclusion are the measured forces on the structure, the magnitude of the second-order sum waves and some other instances of freak waves occurring in crossing sea states.

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Aryan, Arya. "Fiction as Therapy." Exchanges: The Interdisciplinary Research Journal 9, no. 1 (October 28, 2021): 107–23. http://dx.doi.org/10.31273/eirj.v9i1.428.

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The Unnamable (1953) shows the breakdown of the Cartesian Cogito in a post-war soulless world in which its inhabitants suffer from disconnectedness. When the speaker’s consciousness breaks down and is no longer able to attribute the projections of its own consciousness to the self, he becomes incapable of ascertaining his own agency, authority and existence; hence the dissolution of the Cartesian Cogito. The condition is further exacerbated when the speaker who hears unattributable, disembodied authoritative voices finds himself in a universe where there is no one else to ascertain one’s existence. The sense of agency is therefore lost. Yet, the speaker, as in the fashion of AVATAR therapy for people with schizophrenia, attempts in writing, turning the voices into characters and stories and entering a dialogue with them to overcome his ontological insecurity in a universe that is generated out of his head and yet achieves an uncanny kind of independence. In other words, it is a therapeutic attempt to put the dismantled elements back into place in order to overcome the consequent ontological insecurity that this dissolution generates. This is done through a kind of quasi-corporeality that Steven Connor calls ‘the vocalic body.’ Nevertheless, as this paper argues, although being able to substantialise the voices, the Unnamable is still wavering between mediumship (being the medium of others’ voices) and agency.

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Kartika, Tyas Willy, and Maria Elfrieda C.S.T. "FEMSLASH FANFICTION AND LESBIANISM: EFFORTS TO EMPOWER AND EXPRESS ASIAN AMERICAN WOMAN SEXUALITY." Rubikon : Journal of Transnational American Studies 8, no. 2 (October 11, 2021): 106. http://dx.doi.org/10.22146/rubikon.v8i2.69689.

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The existence of fan fiction nowadays shows more progressive development especially in this digital era when people does not only use internet for communicating and socializing across time and space but they also show their creativity, one of them is by writing a fan fiction. By writing fan fiction in online platforms, people get the opportunity to express their interests and their identities. This opportunity is also obtained by minority groups such as LGBTQ+ where they can express their identity through fan fiction. LGBTQ+ community utilizes online platform as the tool that brings benefit for them. In this case, writing fan fiction in online platforms allows people to create the preferable representation of minority groups and empower them as the part of LGBTQ+ community. This phenomenon can be seen through a website named Asianfanfics.com which shows an increasing number of fan fictions especially the ones with lesbian related tags such as girl x girl, lesbian, and femslash. Particularly, through the femslash subgenre, people use fan fiction to question the heteronormativity. Regarding to this phenomenon, an interview was conducted by choosing three Asian American fan fiction writers from Asianfanfics.com as the interviewees. Furthermore, by using gender theory and intersectionality, this article focuses on how fan fiction becomes a safe space to express their sexual identities and how lesbian relationship is viewed by Asian families.

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Campbell, Stuart, St John Crean, and Waqar Ahmed. "Titanium allergy: fact or fiction?" Faculty Dental Journal 5, no. 1 (January 2014): 18–25. http://dx.doi.org/10.1308/204268514x13859766312593.

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Titanium is well suited to implantology: it is naturally abundant, readily machined, shows up well on dental radiographs and, perhaps most importantly, it is biocompatable with human tissue. However, the dental literature suggests that metal sensitivity may occur after exposure to titanium dental implants. The prevalence of such cases is likely to increase and, although allergies represent the most frequent chronic diseases in Europe today, affecting the daily lives of more than 60 million people, the role of titanium as a potential allergen is under-investigated. With this in mind, this paper seeks to review the literature to investigate if titanium in dental implants can induce clinically relevant hypersensitivity reactions.

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Irfan Ahsan, Dr Irfan Ahsan Pasha. "Urdu Fiction and Modern Lifestyle." Tasdiqتصدیق۔ 1, no. 1 (December 30, 2019): 07–19. http://dx.doi.org/10.56276/tasdiq.v1i1.10.

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Modern lifestyle is the biggest outcome of our times. As a social phenomenon, it is much due to the development of human society. Advancement in knowledge laid the foundation of science and technology and this advancement transformed the ancient simple life to the magic world of today where everything is on your single click. Modern life has many problems too. The cause of these problems is also the same advancement in technology. In today’s globalized world these problems are at large and encompass the whole world. Urdu literature does not ignore the pros and cons of the modern lifestyle in its depiction. This article shows the presentation of the modern lifestyle in modern Urdu literature at a glance.

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Stewart, Victoria. "True Crime and Contemporary Crime Fiction." Crime Fiction Studies 3, no. 2 (September 2022): 159–74. http://dx.doi.org/10.3366/cfs.2022.0072.

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The incorporation of thematic and formal references to true-crime texts in recent British and Irish crime novels shows fiction authors acknowledging that they share an audience with true-crime podcasts, documentaries and books. At the same time, these authors assert the particular contribution that fiction makes to the raising of awareness of both real-world crime and its representations. Examples considered include novels by Ruth Rendell, Denise Mina and Catherine Ryan Howard.

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Cui, Yuxia, Zhipeng Sun, and Xianlun Wang. "Research on robot scene recognition based on improved feature point matching algorithm." ITM Web of Conferences 47 (2022): 02028. http://dx.doi.org/10.1051/itmconf/20224702028.

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A new feature description method based on the fusion of fast retina keypoint (FREAK) and the rotation-aware binary robust independent elementary features (rRBRIEF) is proposed to realize the effective combination of efficiency and accuracy of the two feature descriptions. In addition, in the elimination stage of mismatched point pairs, by setting the base point and its neighborhood, an improved neighborhood parallel random sample consensus (RANSAC) algorithm is proposed to achieve efficient parallel operation of the algorithm in multiple local neighborhoods. The improved feature point matching algorithm and the existing algorithm were tested in different scales, different rotations, different illuminations, and different fuzzy data sets. The experimental results show that the improved algorithm improves the average scene recognition accuracy by 18.21%, improves the efficiency by 15.58%, and shows good robustness.

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Raikhert, K. "Heuristics as a cognitive function." Doxa, no. 1(35) (December 22, 2021): 120–28. http://dx.doi.org/10.18524/2410-2601.2021.1(35).246746.

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The study conceptualizes science fiction as heuristics. To implement this conceptualization, a hybrid definition of science fiction is proposed: science fiction is a kind of fiction whose works can be characterized by secondary artistic conventionality, cognitive estrangement, and test of an intellectual idea or fantastic assumption. As an operational characterization of heuristics, V. Spiridonov’s concept of heuristics is used. Science fiction can be considered as a kind of heuristics under specific conditions, for example, when science fiction work contains the reflected-out heuristics or when heuristics are brought as science fiction work to stimulate the intuitive flash of the thought or insight. However, science fiction can only be regarded as heuristics with certain reservations: science fiction primarily solves artistic problems while heuristics primarily solve cognitive problems: and they can function independently of each other. But it shows that a heuristic function can be attributed to science fiction to solute a problem or to gain a piece of new knowledge (to make a discovery) in an intellectually and creative way.

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Burger, Willie. "Historiese korrektheid en historiese fiksie: ’n respons." Tydskrif vir Letterkunde 52, no. 2 (February 17, 2015): 78. http://dx.doi.org/10.4314/tvl.v52i2.6.

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Historical correctness and historical fiction: a responseIn this article the relationship between history and fiction is examined in response to the historian, Fransjohan Pretorius’s criticism of recent Afrikaans fiction about the Anglo-Boer War in Tydskrif vir Letterkunde 52.2 (2015). The intricate relationship between history and fiction is examined by pointing, on the one hand to the problematic of the relationship between history and the past and on the one hand, to the difference between fiction and history. The function of aesthetic illusion, verisimilitude and conceptions of reference is investigated theoretically before turning to the specific novels that Pretorius discusses. The article shows that historical fiction cannot be restricted to novelized versions of accepted history, but that historical fiction also reminds the reader that the past is always culturally mediated and that the primary aim of novels is not to represent the past but to examine aspects of human existence. A comparison between fiction and history can therefore not be used as a norm to assess novels.

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Vanashree. "Freak Show in Black Comedy: Moral and Physical Disability in Dharamveer Bharati’s ‘Gulki Banno’ (Gulki the Bride)." Indian Journal of Gender Studies 26, no. 3 (October 2019): 350–63. http://dx.doi.org/10.1177/0971521519861174.

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Dharmveer Bharati’s1 ‘Gulki Banno’2 portrays the life of Gulki, a young woman who is a humpback. Set in Allahabad of the 1970s, it describes Gulki’s struggle for survival and lays bare the manner in which deformity or disability is seen in our society. This article shows the varied ways by which her impaired body is associated with evil and deviance and is the object of children’s pranks and adult’s derision. It engages the reader with the issues of spousal abuse, juvenile delinquency, a disabled’s search for space and, most perceptibly, the selfish motives behind the display of philanthropy. The analysis probes the underlying dimensions of moral and physical disability, underlining how multiple shades of the comic weave through the story to impending tragedy.

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Torrego, Alba, Alfonso Gutiérrez-Martín, and Michael Hoechsmann. "The Fine Line between Person and Persona in the Spanish Reality Television Show La isla de las tentaciones: Audience Engagement on Instagram." Sustainability 13, no. 4 (February 6, 2021): 1753. http://dx.doi.org/10.3390/su13041753.

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The hybridization of television genres has led to numerous non-fiction television shows that base much of their success on audience engagement through social networks. This study analyses a specific case, that of La isla de las tentaciones (Temptation Island), to identify interpretive frames in reality shows and their interrelationships with audience involvement on Instagram. Based on a corpus of 8409 comments posted on Instagram by the followers of the program’s actor profiles, the article analyzes the lines between reality and fiction in this non-fiction television show about relationships and infidelity, and, in particular, how online “haters” play a performative role. The show’s participants who were unfaithful are insulted and receive numerous negative value judgments. The “coding and counting” method, drawn from Computer Mediated Discourse Analysis, is used for the coding. Results show that viewers barely allude to this show as fiction, do not differentiate between the actors and their characters, and empathize strongly with the stories they view. The study shows the need for media education, both for those who make the media and those who view it. The goal is not to detract from entertainment value, but to improve critical skills and to recover the educational function of media.

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Ajeng Pratiwi, Ni Komang. "Implementation of Fiction in Teaching Reading." Journal of Humanities and Social Sciences 4, no. 3 (December 24, 2022): 148–54. http://dx.doi.org/10.36079/lamintang.jhass-0403.450.

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This is a conceptional article which the writer proposes a concept of implementation of teaching reading by using fiction. This is aimed to investigate how the fiction are used to materials in teaching reading. It shows that materials can be used to develop students’ reading skill. The pictures in the fiction are engaging and can help students by providing clear storyline as guidance to write story. In addition, the short story also part of fiction, it makes the students have shown their improvement such as they are able to comprehend the text well, the situation of the teaching reading process become more joyful and interesting. So, it can be concluded that the implementation of teaching reading by using fiction can improve the students’ reading skill.

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Jeziorska-Haładyj, Joanna. "Second-Person Narratives in Non-Fiction." Prace Filologiczne. Literaturoznawstwo, no. 8(11) cz.1 (June 28, 2019): 43–54. http://dx.doi.org/10.32798/pflit.53.

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The aim of the article is to analyse the particularity of second-person narratives in non-fiction. Their special status results from the fact that telling another person his or her own story is a convention in fiction but occurs rarely in everyday communication. In non-fiction narratives, the problem of different perspectives (of the narrator and the addressee) is particularly valid, i.e. often the point of view of the narrative “you” is only a disguised point of view of the “I.” The analysis of A Man by Oriana Fallaci shows the shift from the melting of perspectives to an evident distance. In Hanna Krall’s Hamlet, the “I” presents the “you” with an ultimate interpretation of his life.

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Sulistiani, Coriesta Dian, and Hanifah Azzahra. "Interioritas Ruang Gerak Membaca Literatur Fiksi Ergodik House Of Leaves." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (December 22, 2020): 1–6. http://dx.doi.org/10.31937/ultimart.v13i2.1842.

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Ergodic fiction literature is different from other fiction literature. Ergodic literature elements determine the space of the reader. It affects the reader to move that is not limited to the hand and eye movements, but also spatial movements of other limbs. This paper discusses the interiority that occurs behind the body space of readers of ergodic fiction literature. Through a qualitative analysis of the mapping of body space in reading the ergodic literature of Mark Z Danielewski’s House of Leaves (2000), the result shows that elements of ergodic fiction such as narration, nodes, options, multiple paths, and peritext are part of the interiority of space.

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Halley, Matthew R. "Audubon's famous banding experiment: fact or fiction?" Archives of Natural History 45, no. 1 (April 2018): 118–21. http://dx.doi.org/10.3366/anh.2018.0487.

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John James Audubon has been hailed as the progenitor of bird banding in America, but the high rate of natal philopatry in banded Eastern Phoebes (Sayornis phoebe) that he reported is an outlier when compared to modern data. More troubling, a reconstruction of the timeline of events with multiple independent primary sources, shows that Audubon was not in Pennsylvania when he claimed to have re-sighted two banded phoebes there in 1805. These facts cast doubt on the veracity of his story.

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Stewart, Victoria. "Constructing the Crime Canon: Dorothy L. Sayers as an Anthologist." Literature & History 30, no. 2 (November 2021): 105–20. http://dx.doi.org/10.1177/03061973211041252.

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A consideration of Dorothy L. Sayers's work as an anthologist of short detective fiction during the late 1920s and early 1930s shows how, though hemmed in by considerations of cost and copyright, Sayers used the compiling of anthologies both as a means of promoting her ideas about the detective form and to foster connections with fellow practitioners. An analysis of Sayers's five anthologies shows her favouring particular authors and stories, even while accommodating different audiences and venues of publication. She thus constructed a canon of short detective fiction, one that continues to exert influence on understandings of the form.

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Mosca, Ivan. "From Fiction to Reality and Back." International Journal of Gaming and Computer-Mediated Simulations 5, no. 1 (January 2013): 13–31. http://dx.doi.org/10.4018/jgcms.2013010102.

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The relation between games and simulations can be profitably investigated by combining ontological tools and recent neurological findings. Neurology shows that simulations are connected to fiction or to reality by a suspension of disbelief or alternatively a suspension of belief, and ontological categories of Mimesis (simulation of an event or an object) and Catharsis (simulation of the experience of an event or object) lead to a classification of ludic simulations, which allow to discover some of their hidden properties. This paper raises some new issues for the field, like Embodied Simulation, Simulations of Depth and of Surface, the Ontological and the Epistemological Barrier, the Simulation Story, and the K-Rule. Finally, some wittgensteinian tools (semantic, syntactic, infra-semantic, and super-syntactic) are used in order to suggest how to transform a simulation into a ludic simulation.

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Yastreb, Natalya A. "Harry Potter and technopessimism: are «zoomers» ready for the technological progress?" Semiotic studies 2, no. 3 (November 9, 2022): 39–45. http://dx.doi.org/10.18287/2782-2966-2022-2-3-39-45.

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The article reveals the conditions for the science fiction and fantasy fiction to affect formation of technooptimistic and technopessimistic attitude of young readers. Primarily, the work assumes the way fiction heroes understand artefacts with reservations can be considered as the basis to reveal the attitude to engineering among those generations for whom these works were notional points. Technooptimism is defined as a worldview attitude within which nature and the humanbeing cause problems. The article shows that technopessimism identifies the human activity as the problem source. Harry Potter series proved to shape technopessimistic worldview and excuse technology inequality. Through the example of T. Pratchett books the article demonstrates that literature can formalize readers responsible attitude towards equipment if it shows not only the threat that pose technologies (the Promethan mentality), but also remedies to manage effects of machinery use, including those resulting from improper decisions (the Epimethian mentality).

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