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Journal articles on the topic 'Le Guin'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Inassaridze, H. "Non-Abelian Cohomology with Coefficients in Crossed Bimodules." gmj 4, no. 6 (1997): 509–22. http://dx.doi.org/10.1515/gmj.1997.509.

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Abstract When the coefficients are crossed bimodules, Guin's non-abelian cohomology [Guin, C. R. Acad. Sci. Paris 301: 337–340, 1985], [Guin, J. Pure Appl. Algebra 50: 109–137, 1988] is extended in dimensions 1 and 2, and a nine-term exact cohomology sequence is obtained.

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2

Elizabeth Lundberg. "A Gift of Le Guin." Science Fiction Studies 38, no. 3 (2011): 538. http://dx.doi.org/10.5621/sciefictstud.38.3.0538.

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Robert M. Philmus. "Eulogy for Ursula Le Guin." Science Fiction Studies 45, no. 3 (2018): 640. http://dx.doi.org/10.5621/sciefictstud.45.3.0640.

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4

Roy, Sneharika. "Capitalism, Ecosocialism and Reparative Readers in Ursula Le Guin’s The Word for World Is Forest." Literature 3, no. 4 (2023): 446–56. http://dx.doi.org/10.3390/literature3040030.

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Ursula Le Guin’s The Word for World is Forest emerged as a reaction to the Vietnam War, which ravaged human and nonhuman lifeworlds. Le Guin offers two competing discursive systems through which to interpret human and nonhuman alterity—Terran industrial capitalism, grounded in physical and symbolic violence, and Athshean ecosocialism, rooted in an ethics of non-violence and forest-centred nominalism. Le Guin appears to suggest that both “readings” of Athshea are locked in an intractable, adversarial logic, typical of the “paranoid” reading practices that Eve Sedgwick would theorise twenty-five

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5

Guinaudeau, Benjamin, Kevin Munger, and Fabio Votta. "Fifteen Seconds of Fame: TikTok and the Supply Side of Social Video." Computational Communication Research 4, no. 2 (2022): 463–85. http://dx.doi.org/10.5117/ccr2022.2.004.guin.

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6

Cheyne, Ria. "Ursula K. Le Guin and Translation." Extrapolation 47, no. 3 (2006): 457–70. http://dx.doi.org/10.3828/extr.2006.47.3.9.

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7

Sherryl Vint. "TLS Remembers Le Guin." Science Fiction Studies 45, no. 2 (2018): 411. http://dx.doi.org/10.5621/sciefictstud.45.2.0410.

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8

Anderson, Elizabeth. "Ursula Le Guin and Theological Alterity." Literature and Theology 30, no. 2 (2016): 182–97. http://dx.doi.org/10.1093/litthe/frw018.

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9

Autores, Vários. "Tributo a Ursula K. Le Guin." Via Panoramica: Revista de Estudos Anglo-Americanos 13 (2024): 189–93. https://doi.org/10.21747/2182-9934/via13_1hom.

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10

Saltveit, Mark. "Ursula K. Le Guin: A Remembrance." Journal of Daoist Studies 13, no. 13 (2020): 223–27. http://dx.doi.org/10.1353/dao.2020.0011.

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11

Rubin, Alan E., Eric A. Jerde, Puhe Zong, et al. "Properties of the Guin ungrouped iron meteorite: the origin of Guin and of group-IIE irons." Earth and Planetary Science Letters 76, no. 3-4 (1986): 209–26. http://dx.doi.org/10.1016/0012-821x(86)90074-9.

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12

Mateusz, Tokarski. "Symbolika zła w cyklu "Ziemiomorze" Ursuli K Le Guin." Creatio Fantastica 60, no. 1 (2019): 149–70. https://doi.org/10.5281/zenodo.3597823.

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Evil as a force, character, or concept tends to play an important role in fantasy. While its use may be limited to being a plot driver in the form of a main antagonist, literary representations of evil may be also laying claim to universal validity. This essay proposes a reading of the representation of evil presented in the Earthsea cycle (written by Ursula K. Le Guin) as an example of the latter case. Hermeneutics of symbols of Paul Ric&oelig;ur is used to unpack the original vision of evil presented by the Le Guin. It is argued that the conception of evil which arises from the symbols emplo

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13

Flint, Maureen A., Shelly Melchior, Kelly W. Guyotte, and Stephanie Anne Shelton. "Spinning Futures: Interrogating Feminist Pedagogy and Methodology With Speculative Fiction." Cultural Studies ↔ Critical Methodologies 22, no. 2 (2021): 122–31. http://dx.doi.org/10.1177/15327086211052666.

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In this article, we interrogate our experiences as four women academics with two short stories written in conversation with one another: The Ones Who Walk Away From Omelas by Ursula K. Le Guin, and “The Ones Who Stay and Fight,” written by N. K. Jemisin. Both Le Guin and Jemisin’s stories evoke questions about ethics and responsibility in the face of oppression. More specifically, both stories offer complicated and nuanced considerations for how we respond methodologically and pedagogically to systemic oppressions and violence as feminist subjects.

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14

Crowther, David, and Branka Mraović. "The Word for World is Not Forest." Social Responsibility Journal 2, no. 2 (2006): 173–85. http://dx.doi.org/10.1108/eb059263.

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In 1972 Ursula Le Guin published her award winning novella, The Word for World is Forest. This describes the world of the Athsheans, a small, green, furry, and peaceful people. Their planet consists of basically two things: water, and forest. Here they live, hunt, love and dream. They slip gently from dreamtime to realtime; their reality is not always as ours. Then the Terrans arrive. They don't particularly care about the natives, but they want the forest. With huge machines, they level the forest for mile wide strips, using the natives as slave labour. But then one of the Athsheans learn som

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15

Jaeckle, Daniel P. "Embodied Anarchy in Ursula K. Le Guin's The Dispossessed." Utopian Studies 20, no. 1 (2009): 75–95. http://dx.doi.org/10.2307/20719930.

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Abstract In The Dispossessed, Ursula K. Le Guin embodies a complementary form of anarchism on the planet Anarres. Just as in the scientific theory of the protagonist, Shevek, time is both sequential and simultaneous, so too the individual freedom and social responsibility needed for anarchism to succeed are unified by promising, which itself presupposes sequence and simultaneity. Le Guin examines several challenges to this theory of anarchy: crises that disrupt the complementarity of freedom and responsibility; fear; the desire for power; incompatible ideologies; and hopelessness. Despite the

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Jaeckle, Daniel P. "Embodied Anarchy in Ursula K. Le Guin's The Dispossessed." Utopian Studies 20, no. 1 (2009): 75–95. http://dx.doi.org/10.5325/utopianstudies.20.1.0075.

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Abstract In The Dispossessed, Ursula K. Le Guin embodies a complementary form of anarchism on the planet Anarres. Just as in the scientific theory of the protagonist, Shevek, time is both sequential and simultaneous, so too the individual freedom and social responsibility needed for anarchism to succeed are unified by promising, which itself presupposes sequence and simultaneity. Le Guin examines several challenges to this theory of anarchy: crises that disrupt the complementarity of freedom and responsibility; fear; the desire for power; incompatible ideologies; and hopelessness. Despite the

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17

Sawyer, Andy. "Ursula Le Guin and the Pastoral Mode." Extrapolation 47, no. 3 (2006): 396–416. http://dx.doi.org/10.3828/extr.2006.47.3.5.

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18

Robinson, Christopher L. "The Namework of Ursula K. Le Guin." Names 66, no. 3 (2018): 125–34. http://dx.doi.org/10.1080/00277738.2017.1415541.

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19

Williams, Donna Glee. "The Moons of Le Guin and Heinlein." Science Fiction Studies 21, Part 3 (1994): 164–72. https://doi.org/10.1525/sfs.21.2.0164.

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Strong similarities and sharp contrasts exist between Robert Heinlein’s The Moon Is a Harsh Mistress and Ursula K. Le Guin’s The Dispossessed. Both books experiment imaginatively with anarchist societies that develop from colonies of exile, on a moon in Heinlein’s book and on a twin planet in Le Guin’s. In both cases, selective immigration, harsh new environment. and enforced isolation from the decaying parent culture dictate new social patterns. Extrapolating these new directions in which society might grow allows each author to create a model based on chosen philosophical principles. For Hei

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20

ZAPATA, PATRICIA. "Lavinia, de la periferia al centro. Análisis de Lavinia de Ursula K. Le Guin." Cuadernos de Literatura, no. 16 (August 27, 2021): 257. http://dx.doi.org/10.30972/clt.0165432.

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<p>El trabajo se propone un análisis del personaje de Lavinia basado en la novela homónima de Ursula K. Le Guin. Nuestro recorrido considera el pasaje de la periferia al centro de la escritura. El discurso de Lavinia reflexiona acerca del rol del héroe, acerca del poeta y del poder de los textos. Finalmente, este vínculo entre <em>Eneida </em>de Virgilio, que nos recuerda que el poder asociado con la acción y la palabra pertenece a los hombres, y Le Guin cuya narrativa se focaliza en la experiencia y la voz femenina de la protagonista.</p>

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21

Soledad García, Eleonora. "La palabra compartida, un viaje de placer y admiración." Recial 15, no. 26 (2024): 267–71. https://doi.org/10.53971/2718.658x.v16.n26.47213.

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La primera edición de este libro tuvo lugar en Argentina en 2021, apenas dos años después de que la escritora estadounidense Úrsula Le Guin falleciera. Sin embargo, recientemente hemos recibido una nueva publicación de este conjunto de conversaciones que la autora mantuviera con su amigo, el escritor David Naimon. El deseo de que este recorrido, se convirtiese en el libro que hoy, nos invita nuevamente a adentrarnos, en estas reflexiones sobre la acción de escribir, surgió de uno de los encuentros, que tuvieron lugar en la casa de Le Guin, junto a su gato Pard, convertido, como le permitió su

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22

Debita, Gabriela. "Transformative Voyages: The Boat and the Ship in Ursula K. Le Guin's Earthsea Cycle." Cultural Intertexts 11, no. 1 (2021): 22–37. https://doi.org/10.5281/zenodo.5795345.

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In her Earthsea cycle, Ursula K. Le Guin explores the finer nuances of itinerant heterotopias and the transitions and transformations they enable. Drawing mostly on Michel Foucault’s heterotopia of the boat/ship, but also on Margaret Cohen’s chronotope of the ship, this paper distinguishes between these two variations in Le Guin’s series. The fragile boats in which the young wizard Ged crosses the world of Earthsea and his own tormented mindscapes, in search of the shadow born of his reckless mishandling of magic, is a metaphor for the self, and the voyage is one of self-disc

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23

Rodrigues, Raquel Mayne. ""Floresta é o nome do mundo", de Ursula K. Le Guin: um romance de alegoria etnográfica." Literartes 1, no. 18 (2023): 246–55. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2023.210551.

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24

Crease, Robert P. "Ursula’s cat." Physics World 37, no. 7 (2024): 17–18. http://dx.doi.org/10.1088/2058-7058/37/07/17.

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25

Bartles, Jason A. "Navigating Uncertainty: The Ambiguous Utopias of Le Guin, Gorodischer, and Jemisin." Utopian Studies 33, no. 1 (2022): 107–26. http://dx.doi.org/10.5325/utopianstudies.33.1.0107.

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ABSTRACT The phrase “ambiguous utopia” was coined by Ursula K. Le Guin in the subtitle of her novel, The Dispossessed: An Ambiguous Utopia (1974). That work appeared when utopian narratives had been displaced by dystopian imaginaries. This article embarks on a comparative analysis of three short stories: Ursula K. Le Guin’s “The Ones Who Walk Away from Omelas” (1973), Angélica Gorodischer’s “Of Navigators” (1979), and N. K. Jemisin’s “The Ones Who Stay and Fight” (2018). Each author installs ambiguity at the center of their open-ended utopian imaginaries as a way to challenge dogma, pessimism,

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26

Castro Méndez, Silvia. "Los desposeídos, de Ursula K. Le Guin: ¿una utopía?" LETRAS, no. 55 (June 6, 2014): 87–111. http://dx.doi.org/10.15359/rl.1-55.5.

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   El estudio se centra en analizar ciertas interrogantes básicas a propósito de la ambigüedad atribuida al títlulo e índole de la obra Los desposeídos, de Ursula K. Le Guin: «una utopía ambigua», ¿utopía o distopía? Se sostiene que la obra es un ejercicio de pensamiento dialéctico, donde el maniqueísmo queda descartado así como la idealización de los sistemas políticos. This study addresses certain basic questions regarding The Dispossessed, de Ursula K. Le Guin, relative to the ambiguity attributed to its title “An Ambiguous Utopia”. Is it a utopia or a dystopia? It i

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27

Park, Seol Yoanna, Fabiola Kurnia, and Ali Mustofa. "BEYOND DICHOTOMY WITH TAOIST VISIONIN LE GUIN’S THE LEFT HAND OF DARKNESS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 7, no. 1 (2023): 50–60. http://dx.doi.org/10.30743/ll.v7i1.6958.

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The research set out to shed light on balancing awareness, a key Taoist concept that forms the basis of American science fiction author Ursula K. Le Guin's creative works. The balance in Le Guin's work represented the peaceful coexistence of conflicting forces. Le Guin applied Taoist ideas, such as the interdependence of two opposites and non-interference, to convey her concept of balance. The Left Hand of Darkness by Ursula K. Le Guin, published in 1969, served as the primary text for this qualitative study. In The Left Hand of Darkness, the concept of balance was built on transcending the bi

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28

Rochelle, Warren. "The Story, Plato, and Ursula K. Le Guin." Extrapolation 37, no. 4 (1996): 316–29. http://dx.doi.org/10.3828/extr.1996.37.4.316.

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29

Erlich, Richard D. "From Shakespeare to Le Guin: Authors as Auteurs." Extrapolation 40, no. 4 (1999): 341–50. http://dx.doi.org/10.3828/extr.1999.40.4.341.

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30

Fritzsche, Sonja. "Publishing Ursula K. Le Guin in East Germany." Extrapolation 47, no. 3 (2006): 471–87. http://dx.doi.org/10.3828/extr.2006.47.3.10.

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31

Salvatierra, Valentina. "Science-fictional Multilingualism in Ursula K. Le Guin." Science Fiction Studies 47, no. 2 (2020): 195–218. http://dx.doi.org/10.1353/sfs.2020.0012.

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32

Augier, Bertrand. "Réapprendre à écrire avec Ursula K. Le Guin." Books N° 97, no. 5 (2019): 79–82. http://dx.doi.org/10.3917/books.097.0079.

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Salvatierra. "Science-fictional Multilingualism in Ursula K. Le Guin." Science Fiction Studies 47, no. 2 (2020): 195. http://dx.doi.org/10.5621/sciefictstud.47.2.0195.

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34

Mogen, David. "Understanding Ursula K. Le Guin by Elizabeth Cummins." Western American Literature 27, no. 2 (1992): 128–29. http://dx.doi.org/10.1353/wal.1992.0027.

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35

Hyder, Sanaa, and Afreen Khalid. "Ursula K Le Guin: thinking about what matters." Lancet Psychiatry 7, no. 2 (2020): 131–33. http://dx.doi.org/10.1016/s2215-0366(20)30012-2.

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36

Erica, Soares Silva, and Cardoso Andrade Emile. "Ciborgues são elas, alienígenas são os outros: reflexões sobre gênero e sci-fi em A mão esquerda da escuridão, de Ursula K. Le Guin." Via Litterae [ISSN 2176-6800]: Revista de Linguística e Teoria Literária 13, no. 1 (2021): 112–26. https://doi.org/10.5281/zenodo.5592333.

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<strong>Resumo</strong>: O embate da diversidade na produção e consumo de Ficção Científica apenas ganhou notoriedade no final dos anos 1960. Elementos como a representatividade feminina-feminista e as narrativas deslocadas dos dualismos hierárquicos, foram explorados nas obras de FC por escritoras como Ursula K. Le Guin. Neste seguimento, o presente estudo discute as relações de alteridade na produção de Ficção Científica por autoras mulheres e como o romance <em>A mão esquerda da escuridã

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37

Sohn, Nagyung. "Thought Experiment about Gender and Utopia in the 1960s’ Science Fiction: In Cases of Left Hand of Darkness and The Perfect Society." Korean Society of Culture and Convergence 44, no. 10 (2022): 307–22. http://dx.doi.org/10.33645/cnc.2022.10.44.10.307.

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The purpose of this paper is to discuss the thought experiment on the gender and utopia in Left Hand of Darkness by Ursula K. Le Guin and The Perfect Society by Moon Younsung. Both of these novels were published in the 1960s, sharing the topic: gender and utopia. Even if the authors have different cultural and gender backgrounds, they wrote their works under the social background of the 1960s, when the Cold War and the Freedom movements severely conflicted. Besides, more fundamentally speaking, both of them recognized the function of science fiction: thought experiment. By using thought experi

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38

Schrager Lang, Amy, and Daniel Rosza Lang/Levitsky. ""Realists of a Larger Reality": On New Science Fiction." Monthly Review 67, no. 11 (2016): 55. http://dx.doi.org/10.14452/mr-067-11-2016-04_5.

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<div class="quote-intro">Any human power can be resisted and changed by human beings.<p class="quote-intro-author">&mdash;Ursula K. Le Guin</p></div>Le Guin is undoubtedly right about resistance in the "real" world, but in reading, only some books offer a call to resistance and the possibilities of a new reality. Among the books considered here, some come to us as "literary fiction"; others are marked as belonging to another, historically denigrated, form, "science fiction" or "fantasy." This could be a distinction without a difference: two are near-future dystopian

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39

Boreen, Jean, and Sandra Raymond. "How Tashjian and Le Guin Encourage Social Activism in Young Adults." English Journal 95, no. 3 (2006): 69–73. http://dx.doi.org/10.58680/ej20064937.

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Using texts by Janet Tashjian and Ursula K. Le Guin, Jean Boreen and Sandra Raymond show how high school students can be brought into discussions that promote social and political activism and help students understand the steps in these processes.

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40

Changizi, Parisa. "“Permanent Revolution” to Effect an Ever-Evasive (Ecological) Utopia in Ursula K. Le Guin’s The Dispossessed: An Ambiguous Utopia." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 2 (2020): 117–36. http://dx.doi.org/10.4312/elope.17.2.117-136.

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This article aims to analyse Ursula Le Guin’s The Dispossessed: An Ambiguous Utopia from an ecological perspective. In her ecologically conscious story, Le Guin explores the (ironic) manifestation and repercussions of humanity’s environmental fear, the virtues and ills of an ever-evasive ecological utopian society that is paradoxically informed by eco-friendly and ecophobic propensities in its pursuit of freedom through the vigorous practice of the art of dispossession, and the possibility of transcending the hyper-separated categories of difference that include the human/non-human dichotomy.

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41

Jones, Hillary A. "Taoist Spirituality and Paradox in Ursula K. Le Guin’s The Dispossessed." Journal of Communication and Religion 38, no. 2 (2015): 154–74. http://dx.doi.org/10.5840/jcr201538214.

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Constructing a utopian, fictional vision informed by Taoist values and constructed with Taoist rhetorical techniques, Ursula K. Le Guin’s The Dispossessed offers readers a detailed model for forming a Taoist spiritual practice. Le Guin’s novel epitomizes several of the values embedded in Lao-tzu’s Taoist teachings, such as equilibrium and flux, and some of the same rhetorical techniques, such as paradox. To unpack how this rhetoric functions, I examine three of the novel’s paradoxes (balance from instability, harmony in disharmony, and creation through destruction), detail how flux iterates in

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42

Panajotović, Artea, and Mirjana Vučković. "Posthumous reception of Ursula K. Le Guin in Serbian scholarly journals and literary periodicals." Zbornik radova Filozofskog fakulteta u Pristini 54, no. 2 (2024): 161–77. http://dx.doi.org/10.5937/zrffp54-46253.

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Since the 1980s, Ursula K. Le Guin (1929-2018), one of the most influential science fiction and fantasy writers, has had an almost cult status and loyal readership in the region of former Yugoslavia. However, some ten years before her departure, interest in her work decreased. Her most important titles were out of print, new editions were not available, and she was less frequently written about in Serbian journals and periodicals. This changed after her death when, as was to be expected, interest in her work was rekindled. In this paper, we present the critical reception of Ursula K. Le Guin's

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43

Roemer. "A Tribute to Ursula K. Le Guin (1929–2018)." Utopian Studies 29, no. 2 (2018): 117. http://dx.doi.org/10.5325/utopianstudies.29.2.0117.

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44

Barr, Marleen S. "Ursula K. Le Guin: an anthropologist of other worlds." Nature 555, no. 7694 (2018): 29. http://dx.doi.org/10.1038/d41586-018-02439-7.

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45

YANGSUNGKAP. "Justice in the Poetry of Ursula K. Le Guin." Literature and Environment 16, no. 3 (2017): 69–116. http://dx.doi.org/10.36063/asle.2017.16.3.003.

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46

Cohen-Safir, Claude. "Perspectives transgénériques : Joanna Russ, Anne Rice, Ursula Le Guin." Revue Française d'Etudes Américaines 43, no. 1 (1990): 33–46. http://dx.doi.org/10.3406/rfea.1990.1384.

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47

Cho, Hyang-suk. "The Emotions of the Local Languages ‘Guin’ and ‘Gemi’." Journal of honam studies 75 (June 30, 2024): 33–53. http://dx.doi.org/10.37996/hs.75.2.

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48

Slusser, George. "Le Guin and the Future of Science-Fiction Criticism." Science Fiction Studies 18, Part 1 (1991): 110–15. https://doi.org/10.1525/sfs.18.1.110.

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49

Benyovszky, Krisztián. "A nagy sövényen túl." nCOGNITO - Kognitív Kultúraelméleti Közlemények 3, no. 1 (2024): 37–53. http://dx.doi.org/10.14232/ncognito/2024.1.37-53.

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A tanulmány a szószerinti és a figuratív jelentés közötti dinamikát vizsgálja Ursula K. Le Guin A vadorzó (The Poacher) című novellájában, mely a Csipkerózsika kiegészítő átirata. Azt kívánja bemutatni, hogyan, milyen elbeszélői stratégiáknak és retorikai alakzatoknak köszönhetően távolít el minket rendre a szöveg a szószerintiségnek a szintjétől, azt a benyomást keltve, hogy itt többről is van szó. A tárgyi és természeti környezet elemei, illetve a dinamikus, cselekményképző motívumok ugyanis valami másnak a jelévé alakulnak át. Le Guin úgy írja újra a klasszikus mesét, hogy közben magát ezt

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50

Yakpo, Kofi. "O estatuto do pichi na Guiné Equatorial." PLATÔ (Revista Digital do Instituto Internacional da Língua Portuguesa) 3, no. 6 (2016): 20–40. https://doi.org/10.5281/zenodo.2658844.

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Este artigo explora a relação entre as políticas e as ideologias linguísticas relacionadas ao pichi, o crioulo de base lexical inglesa da Guiné Equatorial e a segunda língua nacional mais amplamente falada do país. Forneço explicações para a ausência de compromisso do Estado com o pichi, assim como a omissão do mesmo nos discursos públicos. Sugiro que as ideologias linguísticas que circundam o pichi estabelecem, em grande medida, valores negativos sobre a língua e têm contribu&iac

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