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Journal articles on the topic 'Labyrinths in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Aarseth, Espen. "Doors and Perception: Fiction vs. Simulation in Games." Jouer, no. 9 (August 10, 2011): 35–44. http://dx.doi.org/10.7202/1005528ar.

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In this paper, the author outlines a theory of the relationship of fictional, virtual and real elements in games. Not much critical attention has been paid to the concept of fiction when applied to games and game worlds, despite many books, articles and papers using the term, often in the title. Here, it is argued that game worlds and their objects are ontologically different from fictional worlds; they are empirically upheld by the game engine, rather than by our mind stimulated by verbal information. Game phenomena such as labyrinths, moreover, are evidence that games contain elements that are just as real as their equivalents outside the game, and far from equal to the fictional counterparts.

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2

Yong, Margaret, and Wendy B. Faris. "Labyrinths of Language: Symbolic Landscape and Narrative Design in Modern Fiction." Modern Language Review 86, no. 4 (October 1991): 966. http://dx.doi.org/10.2307/3732559.

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3

Strauss, Walter A., and Wendy B. Faris. "Labyrinths of Language: Symbolic Landscape and Narrative Design in Modern Fiction." South Central Review 10, no. 1 (1993): 107. http://dx.doi.org/10.2307/3190294.

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4

Markova, Elizaveta Vladimirovna. "The Library as a rhizomorphic paradoxical labyrinth (based on the works of J.L. Borges and U. Eco)." Философия и культура, no. 2 (February 2024): 46–62. http://dx.doi.org/10.7256/2454-0757.2024.2.69314.

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The article is devoted to the identification of the genesis, typology and characterization of the philosophical concept of chaos, discreteness, paradoxicity and rhizomorphism of being and their reflection in philosophy and postmodern fiction based on the works of J.L. Borges and U. Eco is about libraries embodied by foreign authors as rhizomorphic paradoxical labyrinths. The concept of rhizome is considered in the context of temporal chaos. In accordance with the basic principles of historical science, the issues of rhizomorphism of the labyrinth library in the context of time are revealed. The research methodology includes general scientific and special comparative methods. The comparative historical and descriptive approaches of the above sources are used. Examples of works by J.L. Borges and U. Eco in the concept of their description of the library as a rhizomorphic paradoxical labyrinth. The relevance of the article lies in the appeal to the analysis of the image of the library as a concept that initially symbolizes the storage of books, knowledge, embodying stability, logical orderliness, consistency. In the culture and art of postmodernism, this symbolism has been radically transformed, which is convincingly proved by the analysis of texts by J.L. Borges and U. Eco.

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5

Evgeniya B., Molkova. "Alain Robbe-Grillet and Nathalie Sarraute: in the Labyrinths of Metaphors." Humanitarian Vector 15, no. 5 (October 2020): 44–52. http://dx.doi.org/10.21209/1996-7853-2020-15-5-44-52.

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The article deals with aesthetic and stylistic particularities of the works by A. Robbe-Grillet and N. Sarraute, two famous writers and theorists of the “Nouveau Roman”. This literary movement continues to provoke debates about its interpretation and definitive assessment among foreign and national scientists, indicating the timeliness of the work. The research is based on their criticism and fiction published in the late 1950s – early 1960s. Analysing the literary context and the aesthetic views of the writers allows us to explain causes of their disagreements, to discover similarities and differences between their creative methods. Interpreting the works in the light of the image of labyrinth gives the opportunity to outline the main features of the poetics of Robbe-Grillet and Sarraute from a new angle. The use of metaphor is one of the characteristics that unites the literary practice of these authors. The concept of labyrinth has a number of philosophical and cultural senses, and its consideration is fruitful in order to study the individuality of the “nouveaux romanciers” literary world. The meaning of the image of labyrinth in the texts of “Dans le labyrinthe” and “Le Planétarium” is treated with comparative and hermeneutic methods, definitive and contextual analysis. The labyrinth defines the logic of creating the whole novel of Robbe-Grillet; it is involved in the description of interior and the image-bearing structure of Sarraute’s work. In addition, the metaphor is the basis of the stylistic manner of both authors, in spite of its different functioning in the considered works. As opposed to rudimentary and stereotypical story and characters, the metaphor in their texts serves to represent psychic activities of any person. Interpreting subconscious processes becomes the central content of the French writers’ works. The “nouveaux romanciers” assign to a reader a significant role in expounding their texts, that triggers self-knowledge, as well as philosophical reflections. The study may be of interest for experts in philology, science of culture and philosophy. Keywords: “Nouveau Roman”, metaphor, subconscious, image, interpretation, story, character

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6

Tudoras, Laura Eugenia. "Fantastic Universes and Space-Tamporary Labyrinths in the Fiction of Mircea Eliade." Brumal. Revista de investigación sobre lo Fantástico 6, no. 1 (February 11, 2018): 225. http://dx.doi.org/10.5565/rev/brumal.370.

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7

Lyne, R. "Book review. Scintillating labyrinths. Elizabethan Fictions: Espionage, Counter-espionage and the Duplicity of Fiction in Early Elizabethan Prose Narratives. R W Maslen." Essays in Criticism 49, no. 1 (January 1, 1999): 62–68. http://dx.doi.org/10.1093/eic/49.1.62.

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8

Luburić Cvijanović, Arijana. "MEMORY IN THE WORK OF CARYL PHILLIPS: SANCTUARY AND/OR PRISON?" Годишњак Филозофског факултета у Новом Саду 40, no. 1 (December 10, 2015): 163. http://dx.doi.org/10.19090/gff.2015.1.163-174.

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Memory and rememoration were crucial for the (re)construction of postcolonial identities in the heyday of historical and cultural retrieval in earlier postcolonial literature. With the gradual change of focus towards considerations of identity construction in neocolonial societies, the importance of rememoration faded while memory continues to haunt characters in contemporary postcolonial fiction, as Caryl Phillips’s writing illustrates. His protagonists retrace memories of past lives, seeking refuge from loss, exile and marginalization, risking permanent entrapment in the labyrinths of past traumas. Although withdrawal into memory prevents some of them from adapting to their surroundings, memory in Phillips’s work as a whole serves as a meeting point for pogrom survivors. It is a polyphonic, heterotopian, heterogeneous imaginary community to which the uprooted figures of his novels belong. The aim of this article is to examine the function of memory in Phillips’s vision, arguing that the established space of memory is designed to mend the rift between value-infested polarities.

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9

Christianto, Victor, and Florentin Smarandache. "Beyond Cryptic Equations: Reimagining Concepts in Physics Through Metaheuristics and Fantasy Stories using Neutrosophic Venn Diagram." HyperSoft Set Methods in Engineering 1 (February 15, 2024): 71–83. http://dx.doi.org/10.61356/j.hsse.2024.110250.

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Physics, the grand narrative of the universe, has long been viewed as a realm of cold, hard equations. But what if we looked beyond the formulas and considered a more imaginative origin for some of its concepts? This article explores the intriguing possibility that physics, and even cosmology, might share a surprising kinship with metaheuristics and fantastical fiction. Metaheuristics, a branch of computer science, deals with finding approximate solutions to complex problems. Perhaps the universe, in its vastness, employs a set of "rules" that lead to the most likely outcomes, much like an algorithm searching for the best solution within a vast space of possibilities. The connection strengthens when we consider the fantastical. Argentine writer Jorge Luis Borges, known for his thought-provoking short stories, often explored themes of infinity, labyrinths, and forking realities. In this article, we discuss, among other things, how to look at physics laws from an alternative fundamental viewpoint that is fluid dynamics perspective. As an example, we provide an outline for deriving the Newton gravitational law from the Kutta-Joukowski theorem, and then deriving the Kutta-Joukowski theorem from Bernoulli principles. In the meantime, it is known that vortex flows, related to solar convective turbulent dynamics at granular scales and their interplay with magnetic fields within intergranular lanes, occur abundantly on the solar surface and in the atmosphere above.

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10

Meeter, Glenn. "The Maze in the Mind and the World: Labyrinths in Modern Literature, and: God's Story and Modern Literature: Reading Fiction in Community, and: Modern Fiction and Human Time (review)." MFS Modern Fiction Studies 32, no. 4 (1986): 690–93. http://dx.doi.org/10.1353/mfs.0.0090.

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11

Clark Mitchell, David. "A New ‘Rhetoric of Darkness’: Joseph Sheridan Le Fanu, John Connolly and the Irish Gothic." Oceánide 13 (February 9, 2020): 95–102. http://dx.doi.org/10.37668/oceanide.v13i.45.

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The relationship between Ireland and the Gothic goes back to the early days of the genre, when the Sublime, as identified by the Irish philosopher Edmund Burke, became central to the aesthetic concepts which would abound in the articulation of the Gothic as a literary form. The “dark, desolate and stormy grandeur” of the perception of Ireland which was held by the English reading public in the late eighteenth century was readily adaptable for the use of the island as a kind of pre-Enlightenment wilderness which, when combined with its linguistic, religious and cultural “otherness”, provided a fertile territory for the growth of a literature which favoured the supernatural, the uncanny and the numerous features which unite to make up the genre. As early as 1771, Elizabeth Griffin’s "The History of Lady Barton" contains elements of the Gothic, and the huge popularity of Waterford-born Regina Maria Roche’s "The Children of the Abbey"gave a definitive boost to the genre with regard to Irish writers. The success of Sydney Owenson’s "The Wild Irish Girl", and that of Charles Robert Maturin with "The Milesian Chief" and "Melmoth the Wanderer" helped foster a tradition which would be continued throughout the nineteenth century by writers such as Joseph Sheridan Le Fanu, L.T. Meade and Bram Stoker. It is Le Fanu who, arguably, was the first writer to merge the Gothic with crime fiction. For Begnall, his works “oscillate between the poles of supernatural horror and suspenseful detection”, and, in short fiction such as “The Murdered Cousin” and “The Evil Guest” and novels including "Uncle Silas" and "Wylder’s Hand" Le Fanu consciously merges the emerging format of the murder mystery with the lugubrious labyrinths of the Gothic. Le Fanu’s influence was, of course, international, but the paths he trod were also followed by numerous Irish writers. One of the most successful of these is John Connolly who, since the introduction of Charlie Parker with the publication of "Every Dead Thing" in 1999 has, in the eighteen novels which have appeared to date, successfully revised the concepts and tropes which make up the Irish Gothic. In this paper these works will be analysed with reference to their debt to the Irish Gothic tradition and, most specifically, to the writing of Le Fanu.

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12

Shabrang, Hoda. "Every Man is an Island: Decanonisation and Fragmentation in Reza Ghassemiâ€™s <i>The Nocturnal Harmony of Wood Orchestra</i>." Asiatic: IIUM Journal of English Language and Literature 14, no. 1 (June 7, 2020): 23–39. http://dx.doi.org/10.31436/asiatic.v14i1.1834.

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Reza Ghassemiâ€™s first Novel, The Nocturnal Harmony of Wood Orchestra, is a unique example of Iranian postmodern novel. First published in the US in 1996 (Nashr-e Ketab-e America) and then by the Iranian publisher Cheshmeh, it was lauded as the Best Novel of the Year 2002 by Hooshang Golshiri Literary Award and as the 2002 Novel of the Year by the Press Criticsâ€™ Awards. The protagonist/narrator of the story has fled the post-revolutionary Iran to Paris and ended up dwelling with a variety of typical exilic Iranians â€“ a macrocosm of Iranian society. On the one hand, he has lost his roots; on the other, he cannot adapt to French culture and community. The present study explores the novel in the light of postmodernist point of view and posits that, aside from enjoying features of postmodern fiction in its narrative labyrinths, this work depicts a world with many of its elements rooted in superstitions, religious beliefs and contradictions that are unique to the Iranian mind. In the novel, prominent postmodern elements are traceable and concepts such as metafiction, vicious circles, grand narrative collapse and paranoia are incorporated; however, it is not merely an artificial collection of technical details. After the revolution, many Iranians left the country either because they were related to the previous regime and staying would have been fatal to them, or they could not tolerate the drastic changes in society which made living intolerable. This study aims to show how an Iranian immigrant turns to a specter (he belongs neither to the native culture nor the French) in exile and eventually metamorphoses to a dog. It is in fact a natural consequence of narrating the confusion of a contemporary man in exile who reflects the confusion and turmoil of the dystopian world around him.

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13

Columbus, Claudette Kemper. "Postmodern Fiction in Europe and the Americas, and: Labyrinths of Language: Symbolic Landscape and Narrative Design in Modern Fiction, and: Modernist Survivors: The Contemporary Novel in England, the United States, France, and Latin America (review)." MFS Modern Fiction Studies 35, no. 4 (1989): 858–61. http://dx.doi.org/10.1353/mfs.0.1520.

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14

Laboureyras, Emanuelle. "L’enquête dans le récit contemporain, une représentation esthétique du labyrinthe." Cahiers ERTA, no. 37 (March 22, 2024): 99–115. http://dx.doi.org/10.4467/23538953ce.24.005.19419.

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Investigation in contemporary narrative : an aesthetic representation of the labyrinth Contemporary narrative features a number of investigative authors who are part of a dynamic of inquiry : investigations in archives, both genealogical and judicial, field research, testimony gathering, trial chronicles. The labyrinth motif not only blurs the lines of enquiry, demonstrating how difficult it is to grasp reality, but also renews the territories of fiction and non-fiction. In this article, we show how contemporary authors engaged in a quest for missing persons or the unveiling of a truth, use the labyrinth motif in their investigative narratives. The labyrinth motif expresses the complexity of the investigations carried out by the authors in their role as investigators. In this way, the labyrinth becomes a metaphor for the authors' creative work, in contact with past and present time.

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15

Morey, Peter. "Identifying with Terrorists: Reading and Writing Others In Sunjeev Sahota’s Ours Are the Streets." Studies in the Novel 56, no. 1 (March 2024): 41–56. http://dx.doi.org/10.1353/sdn.2024.a921058.

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Abstract: Sunjeev Sahota’s novel Ours Are the Streets tells the story of a young British Muslim man’s path to radicalization. It appears to be another fictional attempt to ‘get inside’ the terrorist mind. This essay argues, however, that the text dramatizes the pitfalls of empathic identification via a focalizing character whose mental state becomes unstable and his narrative increasingly unreliable. The protagonist’s uncontrolled Theory of Mind causes him to misrecognize others and their motives, even as he seeks solidarity. The reader too is led into an interpretative labyrinth which raises questions about the ethics of reading fiction and empathizing across cultural difference.

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16

Weisenburger, Steven. "Middle Grounds: Studies in Contemporary American Fiction, and: In the Loop: Don DeLillo and the Systems Novel, and: The Fictional Labyrinths of Thomas Pynchon, and: At the Field's End: Interviews with 20 Pacific Northwest Writers (review)." MFS Modern Fiction Studies 34, no. 4 (1988): 660–64. http://dx.doi.org/10.1353/mfs.0.0682.

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17

Brooker, Sam. "Is There an Author in This Labyrinth?" ACM SIGWEB Newsletter 2023, Winter (December 2022): 1–6. http://dx.doi.org/10.1145/3583849.3583852.

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In 2017 Professor of Literature John Farrell published The Varieties of Authorial Intention. Joining other dissenting voices past and present, this work addressed what the author considered a key tenet of mid- to late 20th century literary criticism: that reference to authorial intention is out of bounds, literary works being constituted by the text alone. Hypertext fiction has its own complex relationship with the notion of intention. From earlier entanglement in post-structuralist approaches to network textuality and the potential for readers to evade authors via branching narratives, hypertext fiction emerged as a distinctive form of textuality that can express intention in unique and unexpected ways. How effectively do the three modes of authorial intention Farrell identifies - communicative, artistic, practical - map to hypertext fiction both past and future? Can this model - devised in the context of linear print writing - accommodate the unique form of textuality represented by hypertext, with its own affordances and opportunities to express intent?

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18

Sassón-Henry, Perla. "Hotel Minotauro : A Polyphonic Novel in a Digital Labyrinth." Rocky Mountain Review 77, no. 2 (September 2023): 190–210. http://dx.doi.org/10.1353/rmr.2023.a921588.

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Abstract: In Hotel Minotauro (2013-2015), Doménico Chiappe combines creative fiction and non-fiction and makes use of digital media to rearticulate, reorient and deepen iconic narratives to make them resonate with contemporary Latin American cultural dilemmas: the actuality and legacy of authoritarianism and exploitation. Hotel Minotauro exemplifies the potential of digital media to reinvigorate and perpetuate classical discourses as expressions of Latin American reality.

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19

Lía Sormani, Nora. "https://www.resad.com/Acotaciones.new/index.php/ACT/article/view/393/649." Acotaciones. Revista de Investigación y Creación Teatral 44 (June 10, 2020): 233–45. http://dx.doi.org/10.32621/acotaciones.2020.44.08.

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En este artículo proponemos una mirada profunda sobre la obra del gran dramaturgo y director argentino Hugo Midón. Para ello analizamos su poética explícita, donde el mismo creador describe sus ideas y propósitos estéticos. La fuente para este trabajo es un artículo que en el año 2003 encargamos a Midón, junto con Jorge Dubatti, di- rector de la Revista Palos y Piedras. Los pensamientos de Midón sobre su obra fueron publicados en la sección «Nuevas praxis, nuevas teorías» bajo el título «El laberinto de la creación. Ficción y realidad en el juego teatral» .

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20

Boldea, Iulian. "In the Identity’s Labyrinth." Acta Marisiensis. Philologia 1, no. 1 (September 1, 2019): 1–4. http://dx.doi.org/10.2478/amph-2022-0001.

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Abstract Vintilă Horia’s novel God was born in exile seems to be written from the perspective of a refusal of history, of an opening to imagination and esoterism, to the detriment of a positive valorisation of the facts of the immediate reality. Fiction is thus the one that legitimizes Ovid’s existential adventure, the one that certifies his resistance to an annihilated and aggressive History. In this novel, we are witnesses of a spiritual metamorphosis, of a spiritual catabathic itinerary, whereby the retransmission in the values of esotericism and self, as well as the understanding of the meanings of existence, is the guarantee of sacrificial death and symbolic resurrection.

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21

Mellard, James M., and David Seed. "The Fictional Labyrinths of Thomas Pynchon." American Literature 61, no. 1 (March 1989): 131. http://dx.doi.org/10.2307/2926542.

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22

Mladenoski, Ranko, and Boban Pereski. "A LABYRINTH OF LITERARY FICTION AND LIFE REALITY." PALIMPSEST/ ПАЛИМПСЕСТ 6, no. 11 (2021): 291–97. http://dx.doi.org/10.46763/palim21116291m.

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23

Saint-Gelais, Richard. "Le réel attrapé par l’imaginaire : Philip Dick et la science-fonctionnalisation de la réalité." Thèmes, types et écriture dans la culture médiatique américaine 30, no. 1 (April 12, 2005): 81–94. http://dx.doi.org/10.7202/501190ar.

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Cet article examine l'une des étapes précoces de ce qui apparaît maintenant comme un processus de dissolution réciproque de la fiction et de la réalité : Time Out of Joint , de l'écrivain américain Philip K. Dick. Ce roman de science-fiction, par son travail sur les cadres de référence du lecteur, remet en question aussi bien les postulats de la lecture réaliste que ceux de la lecture science-fictionnelle. À la fois simulacre avant Baudrillard et redoutable labyrinthe ontologique, il amorce spectaculairemnent ce qu'on appellera peut-être un jour la métafiction de grande consommation.

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24

Corwin, Jay. "“Emma Zunz” in the Mirror and the Labyrinth." Theory in Action 13, no. 4 (October 31, 2020): 148–59. http://dx.doi.org/10.3798/tia.1937-0237.2055.

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“Emma Zunz” exemplifies Borges’s particular use of literary devices, including extra-literary references and motifs that refer to the author’s earlier stories. Among those motifs the most central to “Emma Zunz” is the mirror. The use of the verb “multiplicar” reiterates the phrasing from two earlier stories: “Tlön, Uqbar y Orbis Tertius” and “El tintorero enmascarado, Hakim de Merv.” At the same moment the author only proposes that the character sees her reflections on her way to the port of Buenos Aires but promptly offers another scenario, meaning that the reader’s perception of omniscience is authorial sleight of hand. As in “Tlon,” fiction invades reality, and some of the sources of fiction are identifiable in “Emma Zunz” as the Book of Exodus, a lost silent film called “The Yellow Ticket” and the myth of Theseus and the Minotaur. The convergence of Hebrew and Minoan legends are also implied in the title of the collection, El Aleph through the hieroglyphic origins of the initial letter of the Hebrew abjad.

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25

Cai, Yongchun, and Herbert J. Batt. "Into the Labyrinth: An Introduction to Postmodern Chinese Fiction." Manoa 15, no. 2 (2003): 49–55. http://dx.doi.org/10.1353/man.2003.0122.

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26

Andriescu Garcia, Anca. "Inventing the Enemy. When Propaganda Becomes History." Acta Universitatis Sapientiae, Philologica 5, no. 1 (July 1, 2013): 59–66. http://dx.doi.org/10.2478/ausp-2014-0005.

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Abstract Umberto Eco’s latest novel. The Prague Cemetery, has a complicated metatextual plot in which, as the writer himself stated, he attempts to create the most repugnant of all literary characters, in other words, some sort of “perfect loather" who detests everyone, including himself. I will discuss the various stereotypes of otherness, the way these stereotypical images interact, and how the author weaves the prejudices related to almost every European nationality, but mostly to the Jews, into the image of the “supreme enemy," an image divested of any ornament and so presumptuous that it becomes almost dense. Moreover, in relation to the image I mentioned above. I analyse the mechanisms language uses as a vehicle of deception especially when it describes what is familiar in propagandist texts. I also focus on the different fictional filters applied to real historical events (and texts) in order to entice the reader into trying to decipher a complex and factitious labyrinth in which the barrier between truth and fiction no longer matters, it is purely accidental, and has only one purpose-to generate conspiracies.

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Okolo, Mary Stella Chika. "The need for a Philosophical reading of African Literature." Edumania-An International Multidisciplinary Journal 01, no. 02 (July 20, 2023): 244–58. http://dx.doi.org/10.59231/edumania/8987.

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Literature permeates all the labyrinth of human experience. This is because literature acts as both a reflection and a reflector of society. Through the depiction of the life of individual characters the fundamental symbols and values which unite social groups across countries and in different periods of time are conveyed through literature. Important as this consideration may be, its full impact and import cannot be harnessed if they are presented as works of fiction. The main aim of literature as work of fiction is to entertain. Yet in the African context, especially given its historical burden with colonialism and its after affects, most African creative writers employ their work as weapon of social protest. How can African literature retain its fictional character, maintain its role of entertainment and yet act as a force in the re-ordering of African society? This is where philosophy comes in. As the discipline best equipped to guide humanity towards self-understanding by examining all issues confronting humanity and proffering the best solution, philosophy is employed here as the method to be used to extract ideas contained in African literature and subject them to critical evaluation in order to determine their usefulness and justifiability. This study finds that there is need for a philosophical reading of Africa literature. This study concludes that promoting and sustaining dialogue between philosophy and African literature is essential for African self-understanding and opening up new theories for understanding diversities and divergent issues confronting Africa.

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Crosthwait, George. "The Afterlife as Emotional Utopia in Coco." Animation 15, no. 2 (July 2020): 179–92. http://dx.doi.org/10.1177/1746847720937443.

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This article situates the Pixar computer animation Coco (dir. Lee Unkrich and Adrian Molina, 2017) within a recent selection of afterlife fictions and questions why such narratives might appeal to our contemporary moment. The author’s response is structured around the idea of utopia. In Coco, he identifies several conceptions of utopic space and ideals. The afterlife fiction places characters and viewers in a reflexive location which affords them the opportunity to examine their lives as lived (rather than in death). Transplanting Richard Dyer’s work on classic Hollywood musicals as entertainment utopia to a contemporary animated musical, the article proposes that such a film can be seen as adhering to a kind of ‘new cinematic sincerity’. Coco’s particular depiction of The Day of the Dead fiesta and the Land of the Dead has its roots in the Mexican writer Octavio Paz’s poetic and romantic treatise The Labyrinth of Solitude (1950). A comparison between these two texts suggests that willing encounters with death can be connected to an openness to transitional states of being. Through close readings of key musical sequences in Coco, the author demonstrates how the properties of the musical are combined with animation aesthetics (baby schemata, virtual camera) to lead viewers into their own utopian space of heightened emotions and transition.

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29

Maes-Jelinek, Hena. "The Labyrinth of Universality, Wilson Harris's Visionary Art of Fiction." Bulletin de la Classe des lettres et des sciences morales et politiques 17, no. 7 (2006): 315–16. http://dx.doi.org/10.3406/barb.2006.23812.

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30

Ciarcia, Gaetano. "Fictions et visions littéraires d’un bateau négrier. Penser en ethnographe le conte Benito Cereno d’Herman Melville." Labyrinthe, no. 41 (April 1, 2015): 91–105. http://dx.doi.org/10.4000/labyrinthe.4365.

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31

Beardsell, Peter, and Gerald Martin. "Journeys through the Labyrinth: Latin American Fiction in the Twentieth Century." Modern Language Review 86, no. 2 (April 1991): 502. http://dx.doi.org/10.2307/3730637.

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32

Williams, Raymond Leslie, and Gerald Martin. "Journeys through the Labyrinth: Latin American Fiction in the Twentieth Century." Hispanic Review 60, no. 2 (1992): 251. http://dx.doi.org/10.2307/474133.

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33

Moléndez, Gloria, and Gerald Martin. "Journeys through the Labyrinth: Latin American Fiction in the Twentieth Century." Chasqui 20, no. 1 (1991): 135. http://dx.doi.org/10.2307/29740345.

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34

Minta, Stephen, and Gerald Martin. "Journeys through the Labyrinth: Latin American Fiction in the Twentieth Century." Bulletin of Latin American Research 10, no. 1 (1991): 114. http://dx.doi.org/10.2307/3338591.

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35

Grigore, Rodica. "Gabriel García Márquez, History and the Labyrinth of Literature." Theory in Action 13, no. 4 (October 31, 2020): 107–30. http://dx.doi.org/10.3798/tia.1937-0237.2053.

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Gabriel García Márquez’s novel centered on Simón Bolívar, The General in His Labyrinth (El general en su laberinto, 1989) provoked mixed reactions from the literary critics. Some of them praised another masterpiece, whereas the others accused the Colombian author of creating a disrespectful portrait one of Latin America’s most important historical and symbolic figures The novel combines historical data and fiction in order to humanize the character of the Liberator and to destroy his nearly mythological image while at the same time examining the implications of previous literary discourse on the contemporary Latin American novel. Moreover García Márquez finds an original means of establishing a profound relationship between the magical realist aesthetics he used in One Hundred Years of Solitude and this particular form of pseudo-historical narrative that succeeds in expressing the humanity of its protagonist.

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Snook, Margaret L. "Gerald Martin.Journeys Through the Labyrinth: Latin American Fiction in the Twentieth Century." Romance Quarterly 40, no. 2 (April 1993): 111–12. http://dx.doi.org/10.1080/08831157.1993.10545019.

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Panisello, Claudia. "Aesthetics of the Fantastic in Pan's Labyrinth." Athens Journal of Humanities & Arts 11, no. 3 (May 24, 2024): 341–54. http://dx.doi.org/10.30958/ajha.11-3-5.

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The paper addresses the analysis of aesthetics in Guillermo del Toro's Pan's Labyrinth, a 2006 film in which the fantastic genre predominates. Various aspects are studied: The structure of the plot and composition of the story, which revolve around the presence of two fictional levels: one related to the events of the characters in the mimesis context of the historical and a second fictional level related to the fantastic, producing an understanding of the metaphysical reality of the film. Semiotics of the work in relation to the fantastic regarding the link between Ofelia and the pan. Semiosis of the internal pragmatics of the work in relation to the viewer and the PECMA flow. The acting role of the character Ofelia and her wisdom within the different options presented by the plot. The cultural construction and the attitudinal around gender, are analyzed in relation to their significance. The contribution made by this analysis is an approach to the perceptual process within the film and its relationship with the fantastic. The intervention of the fantastic causes the rupture of the real mimesis, where fantasy allows transgressing the limits of the understanding of the real and generates a character with unusual metaphysical projections.

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Sarah Hudspith. "TRAVERSING THE LABYRINTH: FEMALE PROTAGONISTS' EXPERIENCE OF MOSCOW IN FICTION OF THE 1990s." Modern Language Review 110, no. 3 (2015): 759. http://dx.doi.org/10.5699/modelangrevi.110.3.0759.

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Durix, Jean-Pierre. "Hena Maes-Jelinek, The Labyrinth of Universality: Wilson Harris’s Visionary Art of Fiction." Commonwealth Essays and Studies 30, no. 2 (April 1, 2008): 119–20. http://dx.doi.org/10.4000/ces.9182.

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Ania, Gillian. "Inside the Labyrinth: The Thematics of Space in the Fiction of Paola Capriolo." Romance Studies 18, no. 2 (December 2000): 157–71. http://dx.doi.org/10.1179/ros.2000.18.2.157.

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Tyers, Rhys William. "The Labyrinth and the Non-Solution: Murakami’s A Wild Sheep Chase and the Metaphysical Detective." Manusya: Journal of Humanities 22, no. 1 (July 15, 2019): 76–89. http://dx.doi.org/10.1163/26659077-02201004.

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Many of Murakami’s novels demonstrate his appropriation of the terminology, imagery and metaphor that are found in hardboiled detective fiction. The question of Haruki Murakami’s use of the tropes from hardboiled detective stories has been discussed by scholars such as Hantke (2007), Stretcher (2002) and Suter (2008), who argue that the writer uses these features as a way to organize his narratives and to pay homage to one of his literary heroes, Raymond Chandler. However, these arguments have not adequately addressed the fact that many of Murakami’s novels fit into the definition of the metaphysical detective story, which is “a text that parodies or subverts traditional detective-story conventions” (Merivale & Sweeney 1999:2). Using this definition as a guiding principle, this paper addresses the issue of the metaphysical detective features apparent in Murakami’s third novel, A Wild Sheep Chase, and, more specifically, looks at his use of the non-solution and labyrinth as narrative devices. The main argument, then, is that Murakami’s A Wild Sheep Chase fits in with the metaphysical detective novel and uses the familiar tropes of the labyrinth and the non-solution to highlight our impossible search for meaning.

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Ghanem, Fatma Zohra, and Mounir Hammouda. "Les héros mythiques et leurs doubles dans les labyrinthes de Tolkien." Cahiers ERTA, no. 38 (June 28, 2024): 69–90. http://dx.doi.org/10.4467/23538953ce.24.011.19934.

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This Research paper examines how Tolkien's novels, "The Hobbit" and "The Lord of the Rings," incorporate labyrinthine elements into their fictional worlds. In these literary works, events primarily unfold in open landscapes, but there are elements that evoke complex and dangerous mazes, where certain heroes assume roles similar to that of Theseus. Thus, this analysis explores the representations of the Labyrinth myth through Tolkien's writing, highlighting both the similarities and differences between these structures in the two contexts, while emphasizing the symbolism of the subterranean world, akin to a cave, as a site of transformation where heroes emerge metamorphosed, invoking both death and rebirth. The paper suggests the use of mythocriticism to analyze the reiterations and variations of Labyrinth mythemes in these novels.

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Díaz, Carlos Brito. "Cervantes al pie de la letra: Don Quijote a lomos del «Libro del Mundo»." Cervantes 19, no. 2 (September 1999): 37–54. http://dx.doi.org/10.3138/cervantes.19.2.037.

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Cervantes made of Don Quijote the “book of books” in its truest sense: the nobleman transformed into letter that is read and that one reads in its own graphic existence is one of the original inventions of the Cervantine escrivivir, subverting the thresholds that separate and unite literature and life. The labyrinth of metawriting that confronts characters (fictions of fictions) and people (fictions) in the narrative universe takes us back to the infinite chain of scribes of the world transformed into book, always a previous author's writing (Borges). Cervantes made a bookish defense of the oldest of symbols: that which identifies, in a consummate life-letter, the world with an incessant, absolute, and permanent Book. The nobleman's old dream charges sign in the graph that says him and writes him, in the circular metaphor of a writing of its writing. It is paradoxical that E. R. Curtius in his celebrated study (1984) mentions neither Cervantes nor Don Quixote in his itinerary of variants of the old topos metawriting.

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Camurati, Mireya. "Journeys through the Labyrinth: Latin American Fiction in the Twentieth Century de Gerald Martin." Revista Iberoamericana 57, no. 155 (September 4, 1991): 755–57. http://dx.doi.org/10.5195/reviberoamer.1991.4936.

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Terić, Marijana. "Labirintski znakovni svijet u fantastičkoj prozi Lađa od vode Pavla Pavličića." Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu 65, no. 1-2 (2021): 73–88. http://dx.doi.org/10.22210/ur.2021.065.1_2/04.

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A b s t r a c t SIGNS OF A LABYRINTH IN THE FANTASTIC SHORT STORY COLLECTION LAĐA OD VODE (BOAT MADE OF WATER) BY PAVAO PAVLIČIĆ Since the new edition of Pavličić’s short story collection Lađa od vode (Boat Made of Water) was relatively recently published under the auspices of the art collective that bears the same title as Pavličić’s collection, it is worthwhile to examine the most significant narrative devices of this work, that originally appeared in 1972, alongside some other important Yugoslav fantasy works (Zavjera kartografa/Conspiracy of the Cartographers by Goran Tribuson; Talhe ili Šedrvanski vrt/Talha or the Shadirvan Garden by Irfan Horozović; Noćni fijaker/Nocturnal Hansom Cab by Vlado Urošević). As a collection of fantastic prose, Boat Made of Water brings together a series of poetic devices that could be termed as mysterious, mystical and irrational. Pavličić sees a literary work as a linguistic sign. He problematizes communication, the system of signs and the possibility of a dialogue with the reader. This paper points out the importance features of his work whose reception has been ongoing for the past almost thirty years. In that regard, the collection is discussed as a literary paradigm of postmodernist fantasy. Keywords: fiction, labyrinth, palimpsest, Pavao Pavličić, Italo Calvino, Jorge Luis Borges

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Everett, Justin, and Paul Halpern. "Spacetime as a Multicursal Labyrinth in Literature with Application to Philip K. Dick’s The Man in the High Castle." Kronoscope 13, no. 1 (2013): 47–66. http://dx.doi.org/10.1163/15685241-12341258.

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Abstract We examine the narrative structure of The Man in the High Castle by Philip K. Dick. We place the novel in the context of the alternate history genre of speculative fiction. Noting its complex plot with multiple timelines, we apply the theoretical ideas of Mikhail Bakhtin and Umberto Eco and show how its chronotope, or relationship between space and time, resembles that of a multicursal labyrinth. We connect this analysis with ideas in quantum physics, particularly the Many Worlds Interpretation, and show how it explains the ambiguity of the novel’s ending, and the failure of the characters to reach their goals. In particular, the characters’ search for truth is thwarted by the existence of multiple truths in a maze of competing realities.

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Barzegar, Ebrahim. "Labyrinths and Illusions in David Lynch’s Mulholland Drive and Inland Empire." CINEJ Cinema Journal 5, no. 2 (October 11, 2016): 168–88. http://dx.doi.org/10.5195/cinej.2016.150.

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David Lynch is known for its surrealistic and bizarre spectacles in his films in and out of America which puzzle and disturb the viewers and yet force them to ponder on the underlying mystery and meaning of them. Multilayered and disjointed narratives of his films strike most of the viewers to get lost in his magical world or Lynchland. In order to fully apprehend his convoluted cinematic narrative, this article aims at unfolding the different layers of his postmodern award-winning film, Mulholland Drive (2001) and INLAND EMPIRE (2006). To achieve this goal, Brian McHale’s thoughts and notions associated with postmodern fiction’s characteristic dealing with foregrounding ontological narratives are chosen and used in this research. It is conclude that Mulholland Drive’s and INLAND EMPIRE's embedded narratives function as a reflection of the primary narrative or diegetic leading to the construction of abysmal worlds.

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SWANSON, PHILIP. "Gerald Martin, "Journeys through the Labyrinth. Latin American Fiction in the Twentieth Century" (Book Review)." Bulletin of Hispanic Studies 69, no. 2 (April 1992): 208. http://dx.doi.org/10.3828/bhs.69.2.208.

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Bhuyan, Kangkan. "Victims of Gendered Portrayals: Female Characters in the Selected Fiction of Arun Joshi." New Literaria 04, no. 01 (2023): 94–99. http://dx.doi.org/10.48189/nl.2023.v04i1.013.

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The purpose of this research paper is read the female characters in the fiction of the Indian English novelist Arun Joshi as victims of gendered portrayals. The protagonists of Joshi’s fiction are anti-heroes with questionable morals and characterized by a twisted idealism in whose wake of destruction the female characters simply by dint of their gender are almost always sidelined and victimized. A looming sense of doom preordains those seeking fulfillment in Joshi’s dystopic world and as such the female characters, mostly relegated to traditional and stereotypical gender roles, have no say or choice in the unfurling of their destinies. They are simply a means to an end – for the protagonist to arrive at a certain stage in his life, and for the writer to depict the absurdity of materialistic existence which degrades the souls of the protagonists. This paper will examine the gender-biasedness in the depiction of the female characters in the three novels by Arun Joshi, namely, The Last Labyrinth, The Foreigner and, The Strange Case of Billy Biswas with a view to bring them to the foreground to highlight their suffering, limitations imposed by their gendered portrayals and suppressed voices. Such foregrounding of the female characters will also serve to expose the hypocrisies of male character portrayals in patriarchal texts as well as in their analyses and criticisms.

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Ni, Zhange. "Xiuzhen (Immortality Cultivation) Fantasy: Science, Religion, and the Novels of Magic/Superstition in Contemporary China." Religions 11, no. 1 (January 2, 2020): 25. http://dx.doi.org/10.3390/rel11010025.

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In early twenty-first-century China, online fantasy is one of the most popular literary genres. This article studies a subgenre of Chinese fantasy named xiuzhen 修真 (immortality cultivation), which draws on Daoist alchemy in particular and Chinese religion and culture in general, especially that which was negatively labelled “superstitious” in the twentieth century, to tell exciting adventure stories. Xiuzhen fantasy is indebted to wuxia xiaoshuo 武俠小說 (martial arts novels), the first emergence of Chinese fantasy in the early twentieth century after the translation of the modern Western discourses of science, religion, and superstition. Although martial arts fiction was suppressed by the modernizing nation-state because it contained the unwanted elements of magic and supernaturalism, its reemergence in the late twentieth century paved the way for the rise of its successor, xiuzhen fantasy. As a type of magical arts fiction, xiuzhen reinvents Daoist alchemy and other “superstitious” practices to build a cultivation world which does not escape but engages with the dazzling reality of digital technology, neoliberal governance, and global capitalism. In this fantastic world, the divide of magic and science breaks down; religion, defined not by faith but embodied practice, serves as the organizing center of society, economy, and politics. Moreover, the subject of martial arts fiction that challenged the sovereignty of the nation-state has evolved into the neoliberal homo economicus and its non-/anti-capitalist alternatives. Reading four exemplary xiuzhen novels, Journeys into the Ephemeral (Piaomiao zhilv 飄渺之旅), The Buddha Belongs to the Dao (Foben shidao 佛本是道), Spirit Roaming (Shenyou 神遊), and Immortality Cultivation 40K (Xiuzhen siwannian 修真四萬年), this article argues that xiuzhen fantasy provides a platform on which the postsocialist generation seek to orient themselves in the labyrinth of contemporary capitalism by rethinking the modernist triad of religion, science, and superstition.

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