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Journal articles on the topic 'Ludic writers'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Jacobs, Steven, and Hilde D'haeyere. "Frankfurter Slapstick: Benjamin, Kracauer, and Adorno on American Screen Comedy." October 160 (June 2017): 30–50. http://dx.doi.org/10.1162/octo_a_00290.

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Scrutinizing the writings by Walter Benjamin, Siegfried Kracauer, and Theodor W. Adorno and connecting them to specific comedy scenes and tropes, this essay explores the fascination for American slapstick comedies and comedians by the philosophers of the Frankfurt School. Although often critical of mass entertainment, Benjamin, Kracauer, and Adorno admired the way slapstick film elevated motion and speed to an art form that answered to the rhythms and dangers of an industrialized society. For these writers, slapstick's crude and anarchic humor and anthropomorphizing of everyday objects offered
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2

Abegglen, Sandra, Tom Burns, and Sandra Sinfield. "Drawing as a Way of Knowing: Visual Practices as the Route to Becoming Academic." Canadian Journal for Studies in Discourse and Writing/Rédactologie 28 (February 6, 2018): 173–87. http://dx.doi.org/10.31468/cjsdwr.600.

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This case study illustrates what happened when we took a playful approach in a first year undergraduate academic skills module and a graduate Facilitating Student Learning module asking our students to “draw to learn.” We found that they not only enjoyed the challenges we set them, but also that they “blossomed” and approached their academic writing with more confidence and joy. Hence we argue for a more ludic approach to learning and teaching in Higher Education to enable Widening Participation students and their tutors to become the academic writers they want to be. In particular “blind draw
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3

Donlan, Lisa. "Constructing authorial pseudonyms and authorial identity in online fanfiction communities." Internet Pragmatics 3, no. 1 (2019): 95–115. http://dx.doi.org/10.1075/ip.00040.don.

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Abstract This article undertakes the first linguistic analysis of the innovative online pseudonyms (e.g., <smollouisandtolharry>, <00Q007Narry>, <b0yfriendsinl0ve>) used by fanfiction authors. Specifically, this research explores the most frequent lexical formation processes employed when creating pseudonyms, why these processes are used, and what they reveal about authorial identity in fanfiction communities. The most common formation methods identified across the 600 names analysed are compounding, blending, and variant spellings. All three of these processes allow authors
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Warońska, Joanna. "Kobiecość a płeć żeńska. Komediopisarki dwudziestolecia międzywojennego wobec dyskursu emancypacyjnego." Wielogłos, no. 2 (44) (2020): 91–116. http://dx.doi.org/10.4467/2084395xwi.20.013.12404.

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Femininity and the Female Gender: Female Comedy Writers of the Interwar Period in Relation to the Emancipation Discourse The article presents an analysis of selected interwar comedies written by women – Marcelina Grabowska, Maria Morozowicz-Szczepkowska, Maria Pawlikowska- -Jasnorzewska and Magdalena Samozwaniec – and dealing with issues related to the emancipation discourse: motherhood, abortion, shaping a new female role model, and relationships in women’s groups. The heroines of those plays, increasingly liberated and self-aware, demanded the rights traditionally assigned to men, while tryi
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Warońska, Joanna. "Kobiecość a płeć żeńska. Komediopisarki dwudziestolecia międzywojennego wobec dyskursu emancypacyjnego." Wielogłos, no. 2 (44) (2020): 91–116. http://dx.doi.org/10.4467/2084395xwi.20.013.12404.

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Femininity and the Female Gender: Female Comedy Writers of the Interwar Period in Relation to the Emancipation Discourse The article presents an analysis of selected interwar comedies written by women – Marcelina Grabowska, Maria Morozowicz-Szczepkowska, Maria Pawlikowska- -Jasnorzewska and Magdalena Samozwaniec – and dealing with issues related to the emancipation discourse: motherhood, abortion, shaping a new female role model, and relationships in women’s groups. The heroines of those plays, increasingly liberated and self-aware, demanded the rights traditionally assigned to men, while tryi
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6

Gama, Mônica Fernanda Rodrigues. "Caminhos da consagração: Guimarães Rosa e o julgamento crítico." O Eixo e a Roda: Revista de Literatura Brasileira 27, no. 3 (2018): 151–74. http://dx.doi.org/10.17851/2358-9787.27.3.151-174.

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Resumo: Quando um autor expõe suas leituras e o modo como avalia diferentes práticas literárias, ele oferece uma oportunidade de compreendermos particularidades da prática literária, percebidas a partir de um ponto de vista interno. Mais que curiosa, essa visão interna nos dá pistas de mecanismos e escolhas relativas à percepção de valores literários. Os escritores, agentes literários dotados de um singular capital simbólico, podem perceber, elucidar e avaliar a literatura de seus contemporâneos, associando suas assinaturas aos nomes dos que desejam integrar o campo literário, por meio da crít
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7

Oushakine, Serguei Alex. "Being In-between: Poetry for Children and Its Formal Method." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 10–26. http://dx.doi.org/10.31860/2304-5817-2020-2-18-10-26.

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This introduction to the archive bloсk on poetry for children as a critical object attempts to place the development of poetic literature aimed for children within a larger context of literary debates that were taking place at the same time. Throughout the 1920s, such formalist scholars as Yuri Tynianov and Boris Eikhenbaum persistently emphasized in their work that literature should be seen (and judged) as an autonomous field of creative activity. A similar trend could be easily traced in the field of poetic literature for children, too. In this case, the claim to artistic sovereignty was rea
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8

Hennelly, Mark M. "VICTORIAN CARNIVALESQUE." Victorian Literature and Culture 30, no. 1 (2002): 365–81. http://dx.doi.org/10.1017/s1060150302301190.

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The Carnival is just over, and we have entered upon the gloom and abstinence of Lent. The first day of Lent we had coffee without milk for breakfast; vinegar and vegetables, with a very little salt fish, for dinner; and bread for supper. The Carnival was nothing but masking and mummery. M. Héger took me and one of the pupils into the town to see the masks. It was animating to see the immense crowds, and the general gaiety, but the masks were nothing.—Charlotte Brontë, letter, March 6, 1843. . . Humble as I [Pecksniff] am, I am an honest man, seeking to do my duty in this carnal universe, and s
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9

Sullivan, Courtney. "From screen to stage: Mutantes’s sex-positive influence on King Kong Théorie." Contemporary French Civilization: Volume 46, Issue 1 46, no. 1 (2021): 49–74. http://dx.doi.org/10.3828/cfc.2021.3.

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In order to rectify important gaps in scholarship, this article examines how Virginie Despentes’s documentary Mutantes: Féminisme Porno Punk (2009), her autobiographical essay King Kong Théorie (2006), and its theatrical adaptation play off one another to advance the argument that Despentes’s transnational feminism has its roots in the sex-positive movement that began in the United States in the early 1980s.1 At the heart of her work, this feminism influences King Kong Théorie and much of her fiction.2 Despentes, inspired by the sex-positive movement that began in the United States in the earl
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10

Lisak-Gębala, Dobrawa. "„Kicz, kiczyzm” Justyny Bargielskiej." Przestrzenie Teorii, no. 31 (December 6, 2019): 173–96. http://dx.doi.org/10.14746/pt.2019.31.9.

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The article develops the analysis of recurrent kitschy motifs in poetry and prose by Justyna Bargielska. This authoress consciously and intensively takes advantage of pop-cultural kitsch, kitsch connected to maternity and femininity, sacrokitsch and consolatory kitsch used in mourning practices. She derives many fetishized objects from these areas and transforms them into private talismans; she also borrows many established pop-cultural visions that serve her heroines to create their identity, but sometimes these patterns become a costume for individual fears and phantasies. The term ‘kitschis
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11

Satin, Leslie. "Dancing in Place: Exhaustion, Embodiment, and Perec." Dance Research Journal 47, no. 3 (2015): 85–104. http://dx.doi.org/10.1017/s0149767715000376.

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This essay brings the work of Georges Perec, the experimental twentieth-century French writer, into contact with dance. It considers ways that Perec's writing and post-modern dance share certain compositional processes and categories, such as Perec's four “fields” (the “sociological,” “autobiographical,” “ludic,” and “fictive”) and concerns (such as time, attention, and exhaustion); aspects of autobiography, such as acts of disclosure and mystification, and resistance to conventions of self-representation; the central place of the body; and the ways these forms so differently express, suggest,
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12

Skowron, Maja. "Kobiece reguły gry. Spór o kobiety w dialogu Il merito delle donne Moderaty Fonte." Terminus 22, no. 3 (56) (2020): 209–32. http://dx.doi.org/10.4467/20843844te.20.012.12370.

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Women’s Rules of the Game: A Dispute over Women in the Dialogue Il merito delle donne by Moderata Fonte This paper concerns Moderata Fonte (Modesta dal Pozzo), a female Venetian writer who lived in the 16th century, and a dialogue she wrote, Il merito delle donne (On the Value of Women), in which seven women gathered in a garden have a lively discussion about men and their flaws. The author of the study presents the book and Fonte’s biography in the context of the early-modern dispute over women (querelle des femmes). She then analyses Il merito delle donne in terms of the functionality of bot
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13

Kochneva, Natalya S. "Function intertextual game in a literary text by V. P. Krapivin." Tyumen State University Herald. Humanities Research. Humanitates 6, no. 1 (2020): 35–47. http://dx.doi.org/10.21684/2411-197x-2020-6-1-35-47.

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Proper names are important elements of a fiction story. Unfortunately, they are not enough researched through the prism of onomastic game. In this article, we verify the hypothesis that intertextual proper names, or “gamemes”, perform important functions in a fiction text. Using them, an author creates a ludic text, which reflects a non-standard and creative approach to its consideration. This article aims to analyze the functions of “gamemes” used in a tale by Vladislav Krapivin, a Russian children’s writer. To achieve this goal, the author of this article has applied the methods of interpret
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14

White, Delene Case. "Childhood Perspectives of the Holocaust in Jurek Becker’s “The Wall” and “The Invisible City,” and Frank Beyer’s film While All Germans Are Sleeping." Holocaust and Genocide Studies 35, no. 1 (2021): 63–78. http://dx.doi.org/10.1093/hgs/dcab013.

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Abstract At the age of eight, Polish-Jewish child survivor Jurek Becker settled with his father in the Soviet Occupation Zone of Berlin, later becoming a professional writer in the German Democratic Republic. He left after a series of protests by artists and intellectuals against the expatriation of dissident singer-songwriter Wolf Biermann, and took up residence in the Federal Republic of Germany. The author of the present study addresses Becker’s short story “Die Mauer” (The Wall) and testimonial essay “Die unsichtbare Stadt” (The Invisible City), along with Frank Beyer’s 1991 film Wenn alle
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15

Bagdasarova, Anna A., and Alexandr I. Slyshenko. "GENRES’ BALANCING IN E. MENDOZA’S NOVEL “THE AMAZING JOURNEY OF POMPONIUS FLAT”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 2 (2021): 141–50. http://dx.doi.org/10.18522/2415-8852-2021-2-141-150.

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The article explores the genre specificity of the postmodern novel, “The Amazing Journey of Pomponius Flat” by the contemporary Spanish writer Eduardo Mendoza. The novel is based on the principles of a ludic literature tradition, one of the manifestations of which is a sophisticated interplay of various ‘high’ and ‘low’ genres in neo-baroque fashion. The novel develops an ironic detective story, but also represents different genre markers of the travel novel, the picaresque and historical novels, whose traditions and cliches are introduced in an ironic way. The journey of the heronarrator, whi
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16

Richlin, Amy. "Talking to Slaves in the Plautine Audience." Classical Antiquity 33, no. 1 (2014): 174–226. http://dx.doi.org/10.1525/ca.2014.33.1.174.

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Based on a full reading of the Plautine corpus in light of theories of class resistance (Michel de Certeau, James C. Scott), this essay argues that the palliata grew up in the 200s bce under conditions of endemic warfare and mass enslavement, and responded to those conditions. Itinerant troupes of slaves and lower-class men performed for mostly humble audiences, themselves familiar with war and hunger; the best of these troupes were then hired to perform at ludi in the cities of central Italy. The first sections of the essay look at types of speech and action in the plays in which slave or poo
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17

Green, Andrew, and Roger Dalrymple. "Playing at Murder: The Collaborative Works of the Detection Club." Crime Fiction Studies 2, no. 1 (2021): 63–78. http://dx.doi.org/10.3366/cfs.2021.0034.

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This paper explores the inter-war collaborative works of the Detection Club as a source of commentary and insight on the ludic and dialogic nature of Golden Age detective fiction. Less well known than the single-authored works of Detection Club members, the multi-authored Behind the Screen, The Scoop, The Floating Admiral, Ask a Policeman and Six Against the Yard capitalise upon the genre's capacity for intertextual play and self-conscious engagements with literary formula and convention. By adopting a range of collaborative approaches and working in different combinations, the joint authors (
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18

Проскурякова, Д. Ю. "Argot as a Form of Protest in the Novels of Rashid Jaidani “Boumkœur” and “Viscéral”." Иностранные языки в высшей школе, no. 2(53) (September 17, 2020): 38–49. http://dx.doi.org/10.37724/rsu.2020.53.2.012.

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В статье анализируются неконвенциональные языковые элементы в романах Рашида Джаидани “Boumcœur” и “Viscéral”. Писатель работает в направлении littérature beur и littérature urbaine («арабская литература» и «урбанистическая литература») — двух связанных между собой направлениях современной французской прозы. Анализ нестандартного вокабуляра проводится на основании алгоритма Э. М. Береговской с указанием частотности использования лексем и способов их семантизации. На основании этого анализа автор приходит к выводу, что нестандартный вокабуляр состоит из различных социолектов, арго, верлана, заи
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19

Kušnere, Sigita. "LATGALIAN LITERATURE AND HISTORY OF LATVIAN LITERATURE – TRADITION AND PERSPECTIVES." Via Latgalica, no. 10 (November 30, 2017): 104. http://dx.doi.org/10.17770/latg2017.10.2763.

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Latgalian literature has received relatively little attention in most studies of Latvian literature, regardless of the time or the type of the studies made, be they studies of individual or collaborative nature. In the late 19th century and early 20th century, it was largely caused by prohibition of Latgalian publications printed in the Latin alphabet. In the following periods Latgalian literature was overlooked because of lack of awareness, sometimes, also by deliberate ignorance, which was dictated by the political situation. Exploration of the current situation is the goal of this study, na
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20

Hoge, Charles William. "Whodology: Encountering Doctor Who fan fiction through the portals of play studies and ludology." Transformative Works and Cultures 8 (May 5, 2011). http://dx.doi.org/10.3983/twc.2011.0262.

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The fan fiction that is inspired by the textual world of both the original and new series of Doctor Who seems to provide a paratextual world of its own that produces a fascinatingly multidirectional relationship with the narratives that inspire it. Specifically, an interrogation of the intersections of these two worlds yields compelling evidence that the textual world of the new incarnation of the television series is aware of the concerns that tend to be generated by the writers of fan fiction and has adapted its own world to accommodate, or at least acknowledge, many of those concerns. If th
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21

Bohdan, Svitlana, and Tetiana Tarasiuk. "Associated Field Semantics in Modeling Lesya Ukrainka’s Image." East European Journal of Psycholinguistics 7, no. 1 (2020). http://dx.doi.org/10.29038/eejpl.2020.7.1.boh.

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The article is focused on the study of the perception of Lesya Ukrainka, a famous Ukrainian writer, in contemporary Ukrainian society. The research is based on a free word association test held online with 200 respondents aged from 13 to 70. As a result of applying quantitative analysis of the associates and semantic gestalt method the authors singled out productive semantic zones concerning each of the stimuli. These zones presented an anthroponymic triad of personality identification related to the author’s names ‘Larysa Kvitka’, ‘Larysa Kosach’, and the pseudonym ‘Lesya Ukrainka’. The nucle
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22

Thompson, Jason, Ken S. McAllister, and Judd Ethan Ruggill. "Onward Through the Fog: Computer Game Collection and the Play of Obsolescence." M/C Journal 12, no. 3 (2009). http://dx.doi.org/10.5204/mcj.155.

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In Mardi and a Voyage Thither, novelist Herman Melville writes of the peculiar and startling confluence of memory, objects, valuation, and disfigurement that mark the collector of obsoletia. The story’s antiquary is the picture of perverse depletion, with a body “crooked, and dwarfed, and surmounted by a hump, that sat on his back like a burden” (328), his hut in shambles, and “the precious antiques, and curios, and obsoletes”—the objects of his collection—“strewn about, all dusty and disordered” (329). This unkempt display cum impromptu museum turns out to present a mere fraction of the curat
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23

Bruns, Axel. "The Knowledge Adventure." M/C Journal 3, no. 5 (2000). http://dx.doi.org/10.5204/mcj.1873.

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In his recent re-evaluation of McLuhanite theories for the information age, Digital McLuhan, Paul Levinson makes what at first glance appears to be a curious statement: he says that on the Web "the common denominator ... is the written word, as it is and has been with all things having to do with computers -- and will likely continue to be until such time, if ever, that the spoken word replaces the written as the vehicle of computer commands" (38). This, however, seems to directly contradict what any Web user has been able to experience for several years now: Web content has increasingly come
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24

Kustritz, Anne. "Transmedia Serial Narration: Crossroads of Media, Story, and Time." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1388.

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The concept of transmedia storyworlds unfolding across complex serial narrative structures has become increasingly important to the study of modern media industries and audience communities. Yet, the precise connections between transmedia networks, serial structures, and narrative processes often remain underdeveloped. The dispersion of potential story elements across a diverse collection of media platforms and technologies prompts questions concerning the function of seriality in the absence of fixed instalments, the meaning of narrative when plot is largely a personal construction of each au
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25

Jones, Timothy. "The Black Mass as Play: Dennis Wheatley's The Devil Rides Out." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.849.

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Literature—at least serious literature—is something that we work at. This is especially true within the academy. Literature departments are places where workers labour over texts carefully extracting and sharing meanings, for which they receive monetary reward. Specialised languages are developed to describe professional concerns. Over the last thirty years, the productions of mass culture, once regarded as too slight to warrant laborious explication, have been admitted to the academic workroom. Gothic studies—the specialist area that treats fearful and horrifying texts —has embraced the growi
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Morse, Nicole Erin. "Authenticity, Captioned: Hashtags, Emojis, and Visibility Politics in Alok Vaid-Menon’s Selfie Captions." M/C Journal 20, no. 3 (2017). http://dx.doi.org/10.5204/mcj.1240.

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IntroductionWithin social media visibility campaigns, selfie captions usually work to produce coherent identity categories, linking disparate selfies together through hashtags. Furthering visibility politics, such selfie captions claim that authentic identities can be made visible through selfies and can be described and defined by these captions. However, selfie captions by the trans artist Alok Vaid-Menon challenge the assumption that selfies and their captions can make authentic identity legible. Through hashtags, emojis, and punning text, Vaid-Menon’s selfie captions interrogate visibility
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27

Mudie, Ella. "Disaster and Renewal: The Praxis of Shock in the Surrealist City Novel." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.587.

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Introduction In the wake of the disaster of World War I, the Surrealists formulated a hostile critique of the novel that identified its limitations in expressing the depth of the mind's faculties and the fragmentation of the psyche after catastrophic events. From this position of crisis, the Surrealists undertook a series of experimental innovations in form, structure, and style in an attempt to renew the genre. This article examines how the praxis of shock is deployed in a number of Surrealist city novels as a conduit for revolt against a society that grew increasingly mechanised in the clima
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Bruns, Axel. "Invading the Ivory Tower." M/C Journal 2, no. 2 (1999). http://dx.doi.org/10.5204/mcj.1742.

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One of the most frequent comments about Internet-based media, particularly about newsgroups and the Web, is that they provide a forum for everyone, no matter how obscure or specific their interest -- you'll find dedicated fora for every field, from high-energy physics to learning Klingon, from the campaign for an independent country in Northern Italy to Indonesian cooking. This is seen as a positive development as often as it is regarded as a negative force -- optimists see these fora as potential bases for the formation of virtual communities which may be able to reinvigorate previously negle
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Blakey, Heather. "Designing Player Intent through “Playful” Interaction." M/C Journal 24, no. 4 (2021). http://dx.doi.org/10.5204/mcj.2802.

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The contemporary video game market is as recognisable for its brands as it is for the characters that populate their game worlds, from franchise-leading characters like Garrus Vakarian (Mass Effect original trilogy), Princess Zelda (The Legend of Zelda franchise) and Cortana (HALO franchise) to more recent game icons like Miles Morales (Marvel's Spiderman game franchise) and Judy Alvarez (Cyberpunk 2077). Interactions with these casts of characters enhance the richness of games and their playable worlds, giving a sense of weight and meaning to player actions, emphasising thematic interests, an
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Jethani, Suneel. "New Media Maps as ‘Contact Zones’: Subjective Cartography and the Latent Aesthetics of the City-Text." M/C Journal 14, no. 5 (2011). http://dx.doi.org/10.5204/mcj.421.

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Any understanding of social and cultural change is impossible without a knowledge of the way media work as environments. —Marshall McLuhan. What is visible and tangible in things represents our possible action upon them. —Henri Bergson. Introduction: Subjective Maps as ‘Contact Zones’ Maps feature heavily in a variety of media; they appear in textbooks, on television, in print, and on the screens of our handheld devices. The production of cartographic texts is a process that is imbued with power relations and bound up with the production and reproduction of social life (Pinder 405). Mapping in
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