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Journal articles on the topic 'Kurt Vonnegut'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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1

BAUM, RUDY M. "Kurt Vonnegut." Chemical & Engineering News 85, no. 17 (April 23, 2007): 3. http://dx.doi.org/10.1021/cen-v085n017.p003.

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2

Kunze, Peter C. "“‘Cheers, Kurt Vonnegut’: The Letters of Kurt Vonnegut”." Studies in American Humor 26 (January 1, 2012): 115–18. http://dx.doi.org/10.5325/studamerhumor.26.2012.0115.

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3

Di Leo, Jeffrey R., Charles B. Harris, Steve Katz, Jerome Klinkowitz, Lance Olsen, Barry Wallenstein, and Regina Weinreich. "Remembering Kurt Vonnegut." American Book Review 28, no. 5 (2007): 30–31. http://dx.doi.org/10.1353/abr.2007.0141.

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4

Sofyan, Ilhamdi Hafiz. "“There Is No Good War”: The Firebombing of Dresden and Kurt Vonnegut’s View Towards World War II in Slaughterhouse-Five." Vivid Journal of Language and Literature 6, no. 2 (July 23, 2019): 60. http://dx.doi.org/10.25077/vj.6.2.60-67.2017.

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This study discusses Kurt Vonnegut's view of war reflected in his novel Slaughterhouse-Five and also his efforts in conveying his views through his novel. This novel is based on the experience of Kurt Vonnegut during World War II when he was imprisoned in a German city called Dresden and witnessed the destruction of the city on February 13, 1945 in an Allied bombing operation. In the novel, Vonnegut rewrote his experience in the form of a fiction. In discussing this literary work, I used the expressive theory by M. H. Abrams which was supported by a historical and biographical approach. In analyzing this literary work, I took quotes from the novel Slaughterhouse-Five as the main data as well as other data as secondary data, such as the biography of the author, interviews with the author taken from various sources, as well as writings on author that is relevant to the discussion in this study. The result show that Kurt Vonnegut see war as something that was completely meaningless and only caused destruction and death for innocent residents. Kurt Vonnegut uses narrative techniques such as black humor, irony, and metaphysics at Slaughterhouse-Five so that his views on war can be conveyed to his readers.
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5

Martín Párraga, Javier. "Kurt Vonnegut’s Quest for Identity." Futhark. Revista de Investigación y Cultura, no. 8 (2013): 183–96. http://dx.doi.org/10.12795/futhark.2013.i08.10.

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he present paper analyzes Kurt Vonnegut’s complex national roots, since he was an American citizen with a clearly German background who was deprived of any German education during his childhood and, consequently, had to discover the country of his ancestors when he was fighting the Nazis during World War II. Thus, his roots become an everlasting source of influence for Vonnegut. Obviously, and taking into account his rejection of Barthes’ concept of “the death of the author”, Vonnegut’s quest for roots will become a recurring element from his first literary adventures to the last published more mature novels.The main focus of the paper will be centered on how, even without a rich German education, Germany will play a fundamental role throughout the novelist’s whole corpus. In order to achieve this goal, I have examined both Vonnegut’s biography as well as his literary corpus (including fictional and non-fictional Works), together with the many interviews he gave during his long and complex literary career.
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6

Herbert, J. X., and Suresh Frederick. "Love and Charity: A Biblical Humanistic Study of Kurt Vonnegut’s God Bless You Mr. Rosewater." World Journal of English Language 12, no. 5 (May 2, 2022): 83. http://dx.doi.org/10.5430/wjel.v12n5p83.

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This paper attempts to see how Kurt Vonnegut’s God Bless You, Mr. Rosewater offers biblical humanism as an antidote to the self-centred attitude that plagues human society. Here Vonnegut is suggesting that a combination of the biblical tenets of charity and love together is the hope for the future. While humanism emphasised individualism, the Gospels insists on individual acts of charity and love. So, a biblical humanism demonstrated through individualised acts of love and charity can counteract the sufferings caused by greed-driven selfish behaviours that are responsible for most of the private and social ills. Vonnegut in this novel through two opposite characters Eliot Rosewater and Norman Mushari demonstrates how love and greed are always antithetical to each other and how the former needs to prevail. Here Vonnegut covertly and at times, explicitly seeks to underpin this theme with the help of Christ’s Sermon on the Mount.
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7

Jacobsen, Mikka. "Kurt Vonnegut Lives on Tinder." Missouri Review 43, no. 3 (2020): 140–55. http://dx.doi.org/10.1353/mis.2020.0041.

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8

Berryman, Charles. "After the Fall: Kurt Vonnegut." Critique: Studies in Contemporary Fiction 26, no. 2 (January 1985): 96–102. http://dx.doi.org/10.1080/00111619.1985.9934666.

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9

Coggins, Jennifer. "Review: Kurt Vonnegut Museum and Library." Public Historian 39, no. 3 (August 1, 2017): 116–20. http://dx.doi.org/10.1525/tph.2017.39.3.116.

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10

Freese, Peter. "The Critical Reception of Kurt Vonnegut." Literature Compass 9, no. 1 (January 2012): 1–14. http://dx.doi.org/10.1111/j.1741-4113.2011.00862.x.

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11

Khaleel(M.A), Intisar Rashid. "Time Travel in Kurt Vonnegut's Slaughterhouse- Five." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 1 (March 1, 2018): 89–100. http://dx.doi.org/10.36473/ujhss.v224i1.250.

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For many years, time travel was the stuff of science fiction. This was all just part of the world's imagination until recently. Science authors, among them, Kurt Vonnegut (1922-2007) post-modern American writer, believe that one can travel through time forward or backward asking his memories and stream of consciousness to give sensory impressions of his thoughts and actions, that what Billy did in Vonnegut's Slaughter house- Five (1969). The protagonist Billy Pilgrim finds himself "unstuck in time" jumping between several periods of his life. Travelling between his experiences as a prisoner of war in World War II to his family life in 1950s, and 1960s and his time on Tralfmadorian Planet, Billy has the freedom and ability to travel; he has no control over these transitions. The present study falls into three sections plus a conclusion. The first section deals with the concept of time travel in literature and fiction. Section two presents historical and literary context to Vonnegut's novel. The treatment of time travel concept will be discussed in the third section. Then, the conclusions which sum up the findings of the research.
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12

Shi, Jing. "On the Postmodern Narrative Techniques in Slaughterhouse-Five." Theory and Practice in Language Studies 9, no. 5 (May 1, 2019): 553. http://dx.doi.org/10.17507/tpls.0905.09.

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Kurt Vonnegut is admitted as a great master of postmodern writer. Vonnegut’s success is mainly attributed to his unique narrative approaches, various expressive methods and dramatic artistic effects. The application of metafiction is particularly obvious and significant in his novels. Slaughterhouse-Five is one of typical examples of the successful adoption of metafiction. The metafiction of Vonnegut’s style, applied in Slaughterhouse-Five, shows itself in three distinctive approaches—non-linear narrative, collage and parody. Based on postmodern narrative theory, the application of these three distinctive narrative techniques will be analyzed in details in this thesis. The analysis mainly includes the reasons why they are applied in the novel and the functions how they work. The paper is mainly divided into five parts. Relevant information of Vonnegut, postmodern metafiction and previous researches are introduced in the first chapter. After getting better acquainted with basic knowledge, three narrative methods of Vonnegut’s metafiction including non-linear narrative, collage and parody are separately and detailedly analyzed in the following three chapters. Every method applied in the novel deepens the anti-war theme, and then exposes war’s evilness and absurdity further. Finally, the last part is a conclusion which is an emphasis on effects of Vonnegut’s unique narrative techniques.
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13

McMahon, Gary. "‘Based on the novel by Kurt Vonnegut’." Film International 9, no. 4 (August 1, 2011): 6–28. http://dx.doi.org/10.1386/fint.9.4.7_1.

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14

Morace, Robert. "Kurt Vonnegut, Jr.: Sermons on the Mount." Critique: Studies in Contemporary Fiction 51, no. 2 (February 3, 2010): 151–58. http://dx.doi.org/10.1080/00111610903446195.

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15

Welsh, Jim. "Kurt Vonnegut, Jr. (1922-2007): A Tribute." Journal of American Culture 31, no. 3 (September 2008): 318–19. http://dx.doi.org/10.1111/j.1542-734x.2008.00680.x.

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16

Piechucka, Alicja. "“Never Trust a Survivor”: Historical Trauma, Postmemory and the Armenian Genocide in Kurt Vonnegut’s Bluebeard." Text Matters: A Journal of Literature, Theory and Culture, no. 11 (November 22, 2021): 240–62. http://dx.doi.org/10.18778/2083-2931.11.16.

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The article focuses on Kurt Vonnegut’s lesser-known and underappreciated 1987 novel Bluebeard, which is analyzed and interpreted in the light of Marianne Hirsch’s seminal theory of postmemory. Even though it was published prior to Hirsch’s formulation of the concept, Vonnegut’s novel intuitively anticipates it, problematizing the implications of inherited, second-hand memory. To further complicate matters, Rabo Karabekian, the protagonist-narrator of Bluebeard, a World War II veteran, amalgamates his direct, painful memories with those of his parents, survivors of the Armenian Genocide. Both the novel and the theory applied to it centre on the problematics of historical and personal trauma, engendered by two genocides which are often the object of comparative analyses: the Armenian Genocide, also referred to as the Armenian Holocaust, and the Jewish Holocaust. The latter is central to Hirsch’s interdisciplinary work in the field of memory studies, encompassing literature, the visual arts and gender studies. In Bluebeard, Vonnegut holds to account a humanity responsible for the atrocities of twentieth-century history: two world wars and two genocides for which they respectively established the context. The article examines the American writer’s reflection on death and violence, man’s destructive impulse and annihilation. In a world overshadowed by memories of mass extermination, Vonnegut interrogates the possibility of a new beginning, pointing to women as agents of renewal and sociopolitical change. He also identifies the role that art plays in the process of potential reconstruction, the story of Karabekian, a failed artist and highly successful art collector, being a Künstlerroman with a feminist edge.
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17

Meyer, William E. H. "Kurt Vonnegut: The Man with Nothing to Say." Critique: Studies in Contemporary Fiction 29, no. 2 (January 1988): 95–109. http://dx.doi.org/10.1080/00111619.1988.9937841.

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18

Aloy, Jorge Omar. "Las condiciones de posibilidad de Kurt Vonnegut para construir el discurso ficcional sobre la masacre de Dresde en Matadero cinco." Káñina 40, no. 1 (May 3, 2016): 33. http://dx.doi.org/10.15517/rk.v40i1.24138.

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Kurt Vonnegut, el escritor norteamericano que sobrevivió a la Masacre de Dresde, demoró veinticuatro años en vencer el silencio e incluir esa matanza en una novela: Matadero cinco. ¿Qué había sucedido? ¿Por qué no podía transformar esa hecatombe en un texto de ficción? En el presente trabajo vamos a revisar cuáles fueron las condiciones de posibilidad con que contó Vonnegut para imponerse a la negación. Para ello tendremos en cuenta, además de las obras anteriores del escritor, el contexto socio- histórico de producción y recepción de la literatura a fines de la década del ’60.
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19

Mcinnis, Gilbert. "Evolutionary Mythology in the Writings of Kurt Vonnegut, Jr." Critique: Studies in Contemporary Fiction 46, no. 4 (July 1, 2005): 383–96. http://dx.doi.org/10.3200/crit.46.4.383-396.

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20

Samet, Tom, and Lawrence R. Broer. "Sanity Plea: Schizophrenia in the Novels of Kurt Vonnegut." American Literature 62, no. 1 (March 1990): 149. http://dx.doi.org/10.2307/2926816.

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21

MARTÍN PÁRRAGA, Javier. "La influencia de Albert Einstein y la Física Cuántica en la narrativa de Kurt Vonnegut." Hikma 9 (October 1, 2010): 143. http://dx.doi.org/10.21071/hikma.v9i.5271.

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En el presente trabajo se analiza la profunda influencia que las teorías científicas de Albert Einstein y alguno de sus discípulos y colaboradores más cercanos ejerce en la narrativa del novelista norteamericano de origen alemán Kurt Vonnegut (1922-2007). Para llevar a cabo el objetivo propuesto, en primer lugar se explora el papel de Einstein como revolucionario cultural, centránsose en su repercusión en el campo de las letras norteamericanas. Una vez llevada a cabo esta tarea, preliminiar pero indispensable, el artículo rastrea las referencias al científico suizo en el corpus de Vonnegut, así como los numerosos momentos en que postulados teóricos provenientes de la física cuántica sirven para sustentar hilos o motivos argumentales dentro del mismo.
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22

Robinson, David. "Vonnegut and Apocalypse: A Consideration of Kurt Vonnegut's Representation of the End of the World." Scrutiny2 23, no. 2-3 (September 2, 2018): 42–55. http://dx.doi.org/10.1080/18125441.2018.1546767.

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23

Kamionowski, Jerzy. "(Re-)kreacyjny rejs arką na koniec świata, czyli jak autor stworzył się Bogiem, czyli diablada z Darwinem. O Galapagos Kurta Vonneguta." Białostockie Studia Literaturoznawcze, no. 19 (2021): 243–64. http://dx.doi.org/10.15290/bsl.2021.19.13.

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This paper analyzes the novel Galapagos by Kurt Vonnegut, Jr. in its thematic and formal dimensions. The author aims, first, to identify the work’s references to scientific issues concerning Darwin’s theory of evolution and so-called “social Darwinism.” Secondly, he identifies the novel’s strictly literary references, the citation of which allows him to draw conclusions about the nature of its intertextuality. Of particular relevance here is the relationship of the Galapagos with the biblical myth of the Flood. As a result, the author of the article substantiates the hypothesis that Vonnegut consistently cultivates, for deeply didactic purposes, postmodern metafiction with a moralistic message.
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24

Iram, Aasma, and Hurriya Zahra. "A Study of Earthly and Ethereal Oscillations in Happy Birthday Wanda June by Kurt Vonnegut." Journal of English Language, Literature and Education 4, no. 1 (September 5, 2022): 20–32. http://dx.doi.org/10.54692/jelle.2022.0401120.

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Discourse analysis is a broad term for the study of the ways in which language is used by people, both in written texts and spoken contexts. It is "the study of real language use, by real speakers in real situations," wrote Teun A. van Dijk in the "Handbook of Discourse Analysis, Vol. 4 (2001)." This study expounds upon the “Discourse Analysis of earthly and ethereal oscillations in Happy Birthday Wanda June by Kurt Vonnegut.”. This study is significant because it explores how the exposition of temporal distortions in Vonnegut’s play (1971) offers a panoramic view of life against the non-linear structure of the play. It also reveals why the impacts of socio-political and historic-religious figures on the fabrication of vice/virtue relationships among the human race are important to focus on in this research. It explores the ordeals that thwart the afterlife notions on the principle of poetic justice. The purpose of this study is to explore (I) the dichotomy between the playful life of Iscariot, Hitler, and other minor characters in heaven, and (II) the victimized existence of Penelope on earth due to the sudden resurrection of her husband (Harold Ryan) after eight years from the rainforests of Amazon. Discourse Analysis has been applied as a research tool. The conceptual framework of James Paul Gee’s (1999) “six buildings tasks” (pg:104) have been used, which helped us to evaluate the language used by the author to build up his narrative. Basing on Gee’s theory this study finds the absolute connectedness of the mortal characters bracketed by futile frustrations and the immortals waiting upon more menace to radically ravish them for their sports. This paper has further implications for future researchers to analyze other literary texts by Kurt Vonnegut to unveil various aspects of geospatial distinctions by applying the post-modern theories.
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25

BABAEI, ABDOLRAZAGH, and AMIN TAADOLKHAH. "Portrayal of the American Culture through Metafiction." Journal of Education Culture and Society 4, no. 2 (January 7, 2020): 9–15. http://dx.doi.org/10.15503/jecs20132.9.15.

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Kurt Vonnegut’s position that artists should be treasured as alarm systems and as biological agents of change comes most pertinent in his two great novels. The selected English novels of the past century – Cat’s Cradle (1963), Slaughterhouse Five (1969), and Breakfast of Champions (1973) – connect the world of fiction to the harsh realities of the world via creative metafictional strategies, making literature an alarm coated with the comforting lies ofstorytelling. It is metafi ction that enables Vonnegut to create different understandings of historical events by writing a kind of literature that combines facts and fiction. Defi ned as a kind of narrative that “self-consciously and systematically draws attention to its status as artefact” metafiction stands against the duplicitous “suspension of disbelief” that is simply an imitation and interpretation of presumed realities. As a postmodern mode of writing it opts for an undisguised narration that undermines not only the author’s univocal control over fiction but also challenges the established understanding of the ideas. Multidimensional display of events and thoughts by Vonnegut works in direction of metafiction to give readers a self-conscious awareness of what they read. Hiroshima bombing in 1946 and the destruction of Dresden in Germany by allied forces in World War II are the subjects of the selected novels respectively. In them Vonnegut presents a creative account in the form of playful fictions. The study aims to investigate how the novelist portrayed human mentality of the American culture by telling self-referentialstories that focus on two historical events and some prevailing cultural problems.
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26

Blackford, Russell. "Physics and Fantasy: Scientific Mysticism, Kurt Vonnegut, and Gravity's Rainbow." Journal of Popular Culture 19, no. 3 (December 1985): 35–44. http://dx.doi.org/10.1111/j.0022-3840.1985.1903_35.x.

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27

Paz, Ravel Giordano. "Pasto Niilista, repasto humanista, convivas fantasmas: O jogo com a vida (e a morte) em Breakfast of Champions, de Kurt Vonnegut." Literatura e Sociedade, no. 22 (December 7, 2016): 55. http://dx.doi.org/10.11606/issn.2237-1184.v0i22p55-67.

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O artigo discute a presença de elementos autobiográficos no romance Breakfast of champions, do escritor estadunidense Kurt Vonnegut, situando-os na economia da prosa experimental-comunicativa do autor e tentando demonstrar como o que se pode denominar um jogo com a vida ajuda a dar profundidade e complexidade aos jogos narracionais e às ambiguidades ideológicas desse romance.
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28

Vedrickaitė, Imelda. "War Experience: Shaping Memory and the Future (Algirdas Landsbergis and Kurt Vonnegut)." Colloquia 33 (December 10, 2014): 73–96. http://dx.doi.org/10.51554/col.2014.29224.

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Landsbergis’ and Vonnegut’s novels bear witness to the catastrophe of war in order to appeal to future generations. Vonnegut was a regular Allied soldier and prisoner of war, and his novel exposes the Western cynicism that justifies one crime with another. The novel announces the destruction of the values of human life and dignity, held so high in the West; these values serve only as a smokescreen for a war, and its hero cannot bear the peace and well-being that follow. For Landsbergis, a war refugee from occupied Lithuania, the situation is different. Because he did not identify with either side in the conflict, his testimony about his experience inspires the hope that it is possible to escape from the roles of both victim and perpetrator. Landsbergis’ literary and political activities directed him and his efforts toward one goal: to understand the reasons behind destructive historical upheavals and to find a way to alter the effects of historical catastrophes. His characters seek to overcome the boundaries of the holy-demonic realm of destruction, to restore lost possibilities for joy and harmonious existence. Landsbergis’ prose revolts against the tragic fate of the average person. He creates an image of a hero who, armed with the magical powers of art, rejects the fear of death and ruling power. Here, the human being is revealed as a hero who cancels out the destructive power of fate. Landsbergis ritualizes the path of preserving life – it becomes not only the death-fearing mortal’s chain of choices, but also an act of internal transformation. One individual’s experience and conquest of fear become an historical image. Its source is individual will and the author’s testimony to the value of life and human dignity. The miraculous nature of Landsbergis’ texts – the appearance of the godly and the demonic – is an effort to come to terms with the isolating nature of historical experience, to understand the destruction wrought by chaos as part of a divine plan.
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29

Maus, John W. "Every Story Tells a Picture." Mathematics Teaching in the Middle School 10, no. 8 (April 2005): 375–79. http://dx.doi.org/10.5951/mtms.10.8.0375.

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One of the Most Wonderful Things about mathematics is that no matter how long you have been teaching, it continues to reveal itself in surprising ways and in unexpected places. One particular revelation occurred to me while reading a book by one of my favorite authors, Kurt Vonnegut, who connected mathematics to literature in a way that I had not thought of before.
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30

Shields, Charles J. "If Jesus Did Stand-Up: The Comic Parables of Kurt Vonnegut." Studies in American Humor 26 (January 1, 2012): 25–39. http://dx.doi.org/10.5325/studamerhumor.26.2012.0025.

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31

Vallina Samperio, Francisco Javier. "La mecánica auto-consciente en "Breakfast of Champions" de Kurt Vonnegut." Cuadernos de Investigación Filológica 35 (June 21, 2010): 7. http://dx.doi.org/10.18172/cif.1506.

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32

Maram, Thirupathi Reddy. "An Abstract Expressionist: A Study of Kurt Vonnegut’s Bluebeard." Shanlax International Journal of English 7, no. 3 (June 1, 2019): 8–15. http://dx.doi.org/10.34293/english.v7i3.448.

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The novel, Bluebeard (1987) presents a dialogue between abstract and representational painting, pointing out both the value and shortcomings of each school. It may end by imagining a type of art in which the usual boundaries separating the real and the artificial fall away; an art that is able to capture the complexity, sorrow, and beauty of life itself. On the other hand, it focuses on human’s cruelty to human. However, the novel also shows that even in the midst of war and death and sorrow the innate human impulse is a creative one. The novel discovers the human desire to create as it investigates the nature of new art itself. Vonnegut was mostly inspired by the grotesque prices paid for works of art during the past century. He thought not only of the mud-pies of art, but of children’s games as well.
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33

Madsen, Deborah L., and Leonard Mustazza. "Forever Pursuing Genesis: The Myth of Eden in the Novels of Kurt Vonnegut." Modern Language Review 88, no. 1 (January 1993): 190. http://dx.doi.org/10.2307/3730830.

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34

Carrigan, Henry L. "“‘I myself am a work of fiction’: Reading the Life of Kurt Vonnegut”." Studies in American Humor 26 (January 1, 2012): 125–28. http://dx.doi.org/10.2307/23823838.

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35

Kalb, John D., and Leonard Mustazza. "Forever Pursuing Genesis: The Myth of Eden in the Novels of Kurt Vonnegut." American Literature 64, no. 2 (June 1992): 416. http://dx.doi.org/10.2307/2927879.

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36

Carrigan, Henry L. "“‘I myself am a work of fiction’: Reading the Life of Kurt Vonnegut”." Studies in American Humor 26 (January 1, 2012): 125–28. http://dx.doi.org/10.5325/studamerhumor.26.2012.0125.

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37

Trachtenberg, Stanley. "Forever Pursuing Genesis: The Myth of Eden in the Novels of Kurt Vonnegut." Studies in American Fiction 21, no. 1 (1993): 123–24. http://dx.doi.org/10.1353/saf.1993.0008.

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38

Gavin Miller. "Literary Narrative as Soteriology in the Work of Kurt Vonnegut and Alasdair Gray." Journal of Narrative Theory 31, no. 3 (2001): 299–323. http://dx.doi.org/10.1353/jnt.2011.0055.

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39

Aloy, Jorge. "LA VISIÓN Y LA VOZ COMO EJES PROBLEMÁTICOS EN LA REPRESENTACIÓN LITERARIA A PARTIR DEL SIGLO XX." Revista de Estudos Acadêmicos de Letras 9, no. 01 (July 1, 2016): 167–75. http://dx.doi.org/10.30681/real.v9i01.1444.

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Las guerras mundiales, además de haber provocado destrucciones humanas y materiales, pusieron en entredicho a la representación artística. En el presente trabajo, vamos a pensar la representación preguntándonos cómo se produce el traslado de la visión hacia la puesta en voz en la obra literaria. Para ello, revisaremos las problemáticas que entrañan la vista, cuando el que ve es el propio escritor; y la voz, cuando debe dar cuenta de lo visto. En este sentido, enmarcaremos como modelo a la novela Matadero cinco de Kurt Vonnegut, cuyo eje argumental está cimentado en las vivencias traumáticas de la Masacre de Dresde.
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40

McCoppin, Rachel. "Kurt Vonnegut and the American Novel: A Postmodern Iconography by Robert T. Tally Jr." Studies in the Novel 45, no. 2 (2013): 315–17. http://dx.doi.org/10.1353/sdn.2013.0039.

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41

Thrall, James H. "Authoring the Sacred: Humanism and Invented Scripture in Octavia Butler, Kurt Vonnegut and Dan Simmons." Implicit Religion 17, no. 4 (December 12, 2014): 509–31. http://dx.doi.org/10.1558/imre.v17i4.509.

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42

Freese, Peter. "Surviving the End: Apocalypse, Evolution, and Entropy in Bernard Malamud, Kurt Vonnegut, and Thomas Pynchon." Critique: Studies in Contemporary Fiction 36, no. 3 (March 1995): 163–75. http://dx.doi.org/10.1080/00111619.1995.9935250.

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Hood, Henry. "Book Review: Forever Pursuing Genesis: The Myth of Eden in the Novels of Kurt Vonnegut." Christianity & Literature 41, no. 4 (September 1992): 510–12. http://dx.doi.org/10.1177/014833319204100428.

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Shin, Hyejeung. "Metafiction and Reader Participation: Slaughterhouse-Five by Kurt Vonnegut and Trust Exercise by Susan Choi." Journal of East-West Comparative Literature 62 (December 31, 2022): 253–72. http://dx.doi.org/10.29324/jewcl.2022.12.62.253.

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Brown, Bryson. "Defending Backwards Causation1." Canadian Journal of Philosophy 22, no. 4 (December 1992): 429–43. http://dx.doi.org/10.1080/00455091.1992.10717290.

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Whether we’re reading H.G. Wells, Robert Heinlein, Ray Bradbury, or Kurt Vonnegut, time travel is a wonderful narrative trick, freeing a story from the normal ‘one damn thing after another’ progression of time. But many philosophers claim it can never be more than that because backwards causation in general, and time travel in particular, are logically impossible.In this paper I examine one type of argument commonly given for this disappointing conclusion: the time travel paradoxes. Happily for science fiction fans, these arguments fall far short of showing what they are intended to show. Why they fail can be better understood in the light of an analogy between these arguments and some arguments libertarians offer against determinism.
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Martín Párraga, Javier. "¿Resulta una distopía traducir la ciencia ficción?" SKOPOS. Revista Internacional de Traducción e Interpretación. e-ISSN: 2695-8465. ISSN: 2255-3703 5 (December 1, 2014): 87–102. http://dx.doi.org/10.21071/skopos.v5i.4291.

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A pesar de lo ambiguo que resulta el término, la ciencia ficción es sin duda una de los géneros más populares de la segunda mitad del siglo XX y comienzos del XXI. Cada año se publican infinidad de novelas que podrían englobarse dentro de esta categoría, así como numerosas películas y series televisivas que hacen lo propio. Por otra parte, aunque siguen existiendo determinadas reticencias, la ciencia ficción no es ya un género minoritario y marginal, sino que autores del prestigio de Margaret Atwood, Douglas Coupland o Kurt Vonnegut producen, o han producido, obras que corresponden de una u otra manera al mismo. El objetivo de la presente comunicación es examinar las dificultades traductológicas que presentan los términos científicos contenidos en estas obras.
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Cordle, Daniel. "Changing of the Old Guard: Time Travel and Literary Technique in the Work of Kurt Vonnegut." Yearbook of English Studies 30 (2000): 166. http://dx.doi.org/10.2307/3509250.

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TORRIANI, Tristan Guillermo. "MONTANHA MÁGICA AO MATADOURO 5:." Schème: Revista Eletrônica de Psicologia e Epistemologia Genéticas 8, no. 1 (October 27, 2016): 05–35. http://dx.doi.org/10.36311/1984-1655.2016.v8n1.02.p5.

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A desestruturação traumática da vivência espaço temporal explorada literariamente em A Montanha Mágica de Thomas Mann e Matadouro 5 de Kurt Vonnegut, Jr. pode ser investigada a partir do trabalho de P. Zimbardo, L. Terr e da Terapia Cognitivo-Comportamental sobre o trauma infantil e a concepção piagetiana do período pré-operacional, marcado por egocentrismo e assimilação lúdica. Na primeira obra, o protagonista Hans Castorp sofre traumas seguidos na perda da mãe, do pai e do avô, e permite, mais tarde, que sua experiência subjetiva do tempo se desassocie gradualmente da medida intersubjetiva ("objetiva") do tempo. Em Matadouro 5, o protagonista Billy Pilgrim passa por traumas que geram rupturas e saltos (tanto para frente quanto para trás) na sua experiência linear do tempo. Concluímos o estudo comparativo destacando as similaridades entre os romances.
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DRĂGAN, Nicolae-Sorin. "The emotional arcs of political narratives." Bulletin of the Transilvania University of Brașov, Series IV: Philology. Cultural Studies 13 (62), Special Issue (December 15, 2020): 69–86. http://dx.doi.org/10.31926/but.pcs.2020.62.13.3.6.

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"According to Reagan et al. (2016) all narratives follow the profile of some emotional arcs. The authors, who start from an idea of the writer Kurt Vonnegut (1995), distinguish between the concept of ‘plot’ – which captures the mechanics of a narrative –, and what they call ‘emotional arcs’, which capture the emotional experience that is evoked in the reader. In this article we propose a critical analysis of the concept of emotional arcs, and test the model of analysis with which the emotional arcs of a narrative are evaluated in the context of specific situations of political communication. The results suggest that for a better understanding of the emotional content of a speech we need to consider the emotional component of each type of semiotic resources that a political actor performs during a speech."
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Sicari, Ilaria. "Paratext as weapon." Translation and Interpreting Studies 15, no. 3 (October 23, 2020): 354–79. http://dx.doi.org/10.1075/tis.20081.sic.

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Abstract Although the selection and publication of foreign literature in the USSR was subject to state control, many foreign works were able to reach the Soviet reader, thanks to the clever strategies employed by editors, literary advisers, critics, and translators. This was particularly true in the case of foreign literature written by Western authors, which underwent more rigorous control and often required incisive cultural and ideological domestication in order to comply with the aesthetics of the Soviet literary canon. Through the analysis of a corpus of published and unpublished Soviet critical texts, this article sheds new light on the Soviet system of cultural production by taking into account the strategies implemented, at different levels, by cultural operators, and in particular by critics. This article focuses on the Soviet reception of Western anti-mimetic novels by Italo Calvino and Kurt Vonnegut, illustrating the strategies of critical domestication to which they were subjected.
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