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Nappi, Carla. "Metamorphoses: Fictioning and the Historian's Craft." PMLA/Publications of the Modern Language Association of America 133, no. 1 (January 2018): 160–65. http://dx.doi.org/10.1632/pmla.2018.133.1.160.
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Language and flesh create each other. here you will find three stories, from three ongoing projects, that are each in some way about the metamorphosis between word and body. Each story is an example of my use of fiction writing as a scholarly tool: for understanding a map as a material object, for weaving lives from textual fragments, and for making a little world with little gods as a way of exploring a work of theory. Fiction, here, is an apparatus for paying new kinds of attention, as well as a vehicle for creating stories, worlds, and selves to give to others. Some persistent concerns in my fiction writing have deeply influenced how I pay attention to the documents I work with in my research: concerns with materiality and history, with the legibility of bodies, with fragmentariness and the transformative power of desire, with the nature of selves and flesh as constantly in the process of becoming, with voicing and with fiction as technologies of conversion. (I did not understand, before writing “The Gesture of Smoking a Pipe,” which you'll read below, that there was an important link in Vilém Flusser's work between physical gesture, selfhood, and the calling down of—and metamorphosis of selves into—gods. Now, the connection between movement, identity, and conversion is becoming central to my work as a historian.) Imagining materiality and metamorphoses this way—and practicing the metamorphosis and conversion of documents—has pointed me toward the ways that materiality and material experience emerge out of relations and relationships and the ways that the kind of orientations that relate bodies in space and time leave traces in our documents.
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Malá, Lucie. "Metamorphosis in fiction: A supra-sentential analysis." Linguistica Pragensia 29, no. 2 (September 25, 2019): 227–35. http://dx.doi.org/10.14712/18059635.2019.2.7.
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Duncan, Ian. "George Eliot’s Science Fiction." Representations 125, no. 1 (2014): 15–39. http://dx.doi.org/10.1525/rep.2014.125.1.15.
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George Eliot’s recourse to comparative mythology and biology in Middlemarch and Daniel Deronda engages a conjectural history of symbolic language shared by the Victorian human and natural sciences. Troubling the formation of scientific knowledge as a progression from figural to literal usage, Eliot’s novels activate an oscillation between registers, in which linguistic events of metaphor become narrative events of organic metamorphosis.
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Atoui-Labidi, Souad. "L’écriture de Malika Mokeddem : une écriture de la métamorphose." Cahiers ERTA, no. 30 (June 30, 2022): 68–91. http://dx.doi.org/10.4467/23538953ce.22.011.16080.
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Malika Mokeddem’s writing: a writing of metamorphosis The reader attentive to the novels of Malika Mokeddem cannot fail to spot the impressive link between humans and nature. The author’s fiction creates its own laws and invents a universe where language is no longer used as a means of description but as a tool to symbolically say a fusion between its different elements. The space of the dune amply brushed in the novels has captured our attention since it metamorphoses and changes status: sometimes affective/ maternal, sometimes seductive. As for the symbolically painted sea, has an emotional dimension since it has often been synonymous with substitute for the absent mother. We will try, in this article, to highlight a writing in metamorphosis and to understand its different manifestations through the analysis of the explicit and implicit words of the author in her stories. The use of Bachelard’s work will therefore be of great support to explore the proposed avenues.
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Martí Esteve, Imma. "Ramon Vinyes i la renovació de la narrativa colombiana: El proteisme literari a <i>El llac d'Atitlán</i>." Zeitschrift für Katalanistik 33 (July 1, 2020): 329–50. http://dx.doi.org/10.46586/zfk.2020.329-350.
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Summary: This article analyses literary proteanism in Ramon Vinyes’ narrative and particularly in his short story “El llac d’Atitlán”. In this tale Ramon Vinyes turns into fiction his reflections about literary dynamism and the interconnection between literary systems. Literature facilitates knowledge transfer throughout epochs and cultures. Besides, the literary text is the result of various metamorphoses in which individuality and cultural hegemony play an outstanding role. “El llac d’Atitlán” fictionalises through the imagination of a Guatemalan poet the transfer of Renaissance philosophy in Latin America and its corruption under the influence of North American culture. Intertextuality and self-reference are the mechanisms to reshape knowledge. Literary proteanism becomes apparent through semantic and narratological transformation. Keywords: proteanism, knowledge transfer, intertextuality, self-reference, literary system, imperialism, metamorphosis, Pico della Mirandola, tellurism, Grupo de Barranquilla
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Harper, Mary Turner. "Merger and Metamorphosis in the Fiction of Mildred D. Taylor." Children's Literature Association Quarterly 13, no. 2 (1988): 75–80. http://dx.doi.org/10.1353/chq.0.0384.
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Rasheed, Nausheen, Mamona Yasmin Khan, and Shaheen Rasheed. "Philosophical Exploration of Absurdism and Existentialism: A Comparative Study of Kafka's Work The Metamorphosis and The Trial." Global Social Sciences Review VI, no. II (June 30, 2021): 94–100. http://dx.doi.org/10.31703/gssr.2021(vi-ii).10.
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The philosophical stance about the existence of being and the meaning of life has been a widely discussed subject among philosophers and critics. Existentialism says that a man can construct his own meaning of life by making judicious use of his awareness, free wills and personal responsibilities, but absurdism believes that there is no meaning of life out there. The focus of this study is to explore the absurdist and existential aspects in Kafka's fiction The Metamorphosis (1915) and The Trial (1925). This is qualitative comparative research, and the data which have been collected for this purpose is through purposive sampling techniques. In this study, Camus' theory of absurdism and theory of existentialism has been adopted as a theoretical framework. The study explores in what ways the traces of absurdism and existentialism are present in Kafka's fiction The Metamorphosis and The Trial. The findings show that characteristics of absurdism and existentialism are found in both the works of Kafka and are comparable with each other. For future recommendations, a comparative stylistic analysis of these selected novels can be carried out.
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Piekutowski, Piotr F. "Swarm–Hybrid–Technology: The Transmedial Possibilities of Becoming-Insect." Zoophilologica, no. 1 (11) (June 21, 2023): 1–21. http://dx.doi.org/10.31261/zoophilologica.2023.11.04.
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According to Rosi Braidotti, insects are determined by their in-between-ness and continuous becoming. The paper analyses the assemblage of insect figurations on two levels: non-human technology and unnatural narrative in stories about a transformation. Following Jussi Parikka’s media archaeology research, becoming-insect is examined on transmedial examples from literature (Franz Kafka—The Metamorphosis), film (David Cronenberg—The Fly), video games and VR (All in! Games—Metamorphosis) and networked media. According to Jan Alber, exploration beyond human stances and defamiliarization in narrative fiction leads to the shift of cognitive frameworks. Radically Other insects transgress the anthropocentric paradigm and execute posthuman assumptions by a hybrid entanglement with humans and machines.
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Mori, Naoya. "BECOMING STONE: A Leibnizian Reading of Beckett's Fiction." Samuel Beckett Today / Aujourd'hui 19, no. 1 (August 1, 2008): 201–10. http://dx.doi.org/10.1163/18757405-019001016.
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Samuel Beckett's works suggest that humans are dead like stones and stones are alive like creatures. The ambiguous border between humans and stones reflects Beckett's borderless grasp on life and death, which he envisions as the metamorphosis of human beings into a state of metaphysical stone that is indestructible and imbued with memories and feelings. Belacqua, Molloy, Malone, and the Unnamable share the vision of such a stone representing life in limbo. Focusing upon the image of stone in Beckett's works, this essay reads the trilogy in particular as an ontological transformation based on Leibnizian vitalism.
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Belousova, Elizaveta O. "AND THE STARS OF HEAVEN FELL TO THE EARTH: ESCHATOLOGICAL MOTIVES IN RUSSIAN SCIENCE FICTION LITERATURE OF THE 2010S (WITH THE EXAMPLE OF “THE FOUR” BY ALEXANDER PELEVIN)." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 63–75. http://dx.doi.org/10.28995/2686-7249-2022-7-63-75.
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Due to its allegorical nature, science fiction narrative in Russian literature-centric culture becomes a transmitter of sociocultural metamorphosis. Science fiction literature of the 2010s constructs fictional spaces appealing to the recipient’s emotional background. The primary purpose of this is to initiate a call to action by referring to the reader’s fundamental experiences and anxieties, hopes, ambitions, and frustrations. Reality is often depicted as traumatic, and by integrating eschatological motives, authors implement both escapist and expressive functions into their texts. The illustrative material for the article below is the novel “The Four” by Alexander Pelevin – it is especially representative within the context of individual creative practices, as the author makes a point of marketing his works via social media, and direct communication with the audience. The category of the end of the world is interwoven into the genre both metaphorically and as a structural aspect of the plot (apocalyptic/postapocalyptic fiction), and in “The Four” it is extended throughout the narrative layers, both vertically and horizontally. From a purely religious impression, Apocalypse shifts into the everyday motive, and it ensures strong connection between the main character and the recipient by the means of shared experience. The recipient of the 2010s, just as the character whose path they observe, undergoes the chaos, colossal change, and suffering that comes with it. In other words, by referring to the end of days, science fiction literature of the 2010s reflects the prosaic yet tragic everyday turbulence.
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Neves, Márcia Seabra. "Um olhar sobre a ficção animalista de João Guimarães Rosa: devires e metamorfoses / The Animal Fiction of João Guimarães Rosa at a Glance: Becomings and Metamorphoses." Caligrama: Revista de Estudos Românicos 25, no. 2 (September 16, 2020): 99. http://dx.doi.org/10.17851/2238-3824.25.2.99-115.
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Resumo: Nas últimas décadas, a inscrição do animal na literatura tem assumindo novos contornos e complexidades, assistindo-se à emergência de uma zooliteratura fundada numa apreensão inédita da animalidade e no trespassamento das fronteiras entre o humano e o não humano. Cada vez mais, os escritores têm multiplicado as tentativas de encenar, por procuração ficcional, novas formas de interação com o animal, seja pela via do compartilhamento de sentidos e afetos, seja pela dos devires e metamorfoses. Neste contexto, a ficção animalista do escritor brasileiro João Guimarães Rosa, um dos maiores animalistas do século XX, constitui um paradigma modelar da figuração literária do animal, visto e escrito, não como simples constructo teórico-ficcional, mas antes como sujeito dotado de uma subjetividade própria e capaz de um olhar interrogante e judicativo sobre o Homem. É o que se tentará demonstrar, neste trabalho, através da leitura crítica de três dos seus contos: “O burrinho pedrês” e “Conversa de bois”, de Sagarana (1946), e “Meu tio o Iauaretê”, de Estas estórias (1969).Palavras-chave: animal; humano; interação; compartilhamento; devir; metamorfose.Abstract: Over the last decades, animal presence in literature has taken on new forms and disclosed new complexities, giving rise toa zooliterature founded upon a renewed insight into animality and the trespassing of the frontiers separating humans and non-humans. Writers have progressively multiplied attempts to enact, through fiction, new forms of interaction with the animal, either through sharing of meaning and affection, or through becoming and metamorphosis. In this context, the Brazilian writer João Guimarães Rosa’s animal fiction, one of the most remarkable 20th century animalist fiction writers, offers a perfect paradigm of the literary figuration of the animal, both seen and written, considered not as a mere theoretical and fictional artifact, but rather as a subject invested with its own ontology and capable of interrogating and judging human behavior. This is the argument we will seek to demonstrate in this article through the critical reading of three of Rosa’s short stories: “O burrinho pedrês” and “Conversa de bois”, included in Sagarana (1946), and “Meu tio o Iauaretê”, from Estas estórias (1969).Keywords: animal; human; interaction; sharing; becomings; metamorphosis.
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Veisland, Jørgen. "Eros and Ethics in Martin A. Hansen’s Novel The Liar." Interlitteraria 23, no. 1 (August 5, 2018): 100–109. http://dx.doi.org/10.12697/il.2018.23.1.11.
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Seduction plays a dual role in Martin A. Hansen’s novel The Liar. Johannes Vig, the narrator/protagonist is prone to repeat a pattern of triangular erotic relationships while at the same time engaging in literary seduction. He hides and reveals the truth through a rhetoric of fiction that carries Kierkegaardian overtones. Johannes who is both teacher and preacher on an island off the mainland at some points approximates the Kierkegaardian category of the demonic, being afraid of opening up. Johannes is suffering from a Freudian compulsion to repeat threatening to bar him from the ethical metamorphosis that would absolve him. The repetitiveness of his sexuality paradoxically spurs on a search for truth and ethics as Johannes distances himself from the past in an attempt to transcend the barriers of dualism implicit in the past-present dichotomy. Fictional seduction and rhetorical persuasion become ways of approximating the truth. Yet fiction is abandoned in the end in favour of a different form of writing as Johannes realizes that a new writing project is necessary whereby ethics becomes understood as selflessness. This insight paves the way for the recognition of nature as flux and the recognition of truth as something that cannot be pinned down since it is fundamentally unsubstantial, in the Buddhist sense of sunyata.
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Nikolchina, Miglena. "Of Bugs and Masks." differences 32, no. 1 (May 1, 2021): 97–125. http://dx.doi.org/10.1215/10407391-8956967.
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This essay examines the entanglement of Galin Tihanov’s three regimes of relevance of literature—literature as art, literature as high-minded social engagement, and literature as popular entertainment—in the encounter between a literary theoretician (Tzvetan Todorov) and a science fiction writer (Stanislaw Lem). The overt clash takes place in a polemical article by Lem, in which he attacks Todorov’s theory of the fantastic. Not so obviously, the writer’s revolt against the theoretician imbues Lem’s masterpiece “The Mask.” Kafka’s novella “The Metamorphosis” plays a considerable role in both Lem’s polemic and in his fictional response, raising questions of genre (and its dependence on the market and the entertainment industry), of subjective agency (and its philosophical and political implications), and of artistic ingenuity vis-à-vis despotic power. Although Lem’s reading of Todorov involves considerable misunderstanding, it nevertheless produces fascinating results and exemplifies the impossibility of relegating literary theory to a single regime of relevance.
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Lockey, Brian C. "The Elizabethan Legacy of Sir Thomas More: Sir John Harington, Anthony Munday, and the tentative rise of the ecumenical English renaissance." Moreana 56 (Number 211), no. 1 (June 2019): 28–41. http://dx.doi.org/10.3366/more.2019.0049.
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Tudor historians of Henry VIII's reign strove both to define the great political theological controversies of the day and to shape the future understanding of past events. This essay considers how Roman Catholic accounts of the life and martyrdom of Sir Thomas More, including those by Nicholas Harpsfield and Thomas Stapleton, shaped subsequent Protestant works of fiction, written during the 1590s. The essay explores, in particular, the collaborative play, Sir Thomas More, by Anthony Munday and revised by Shakespeare and others; and Sir John Harington's references to More and Bishop John Fisher in the preface to his translation of Orlando Furioso and his extensive anecdotal remarks about More's scatological witticisms in his satirical tract, The Metamorphosis of Ajax. Such fictional works presage both the hesitant trend towards ecumenism and the imagined reunion of Christendom of the subsequent Jacobean reign, and the later emergence of the transnational secular public sphere, which transpired during the late seventeenth and eighteenth centuries.
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Cortellete, Letícia. "Fantastic Femininities: Metamorphosis and Resistance in the Fiction of Marie Darrieussecq and Armonía Somers." Forum for Modern Language Studies 57, no. 4 (October 1, 2021): 438–58. http://dx.doi.org/10.1093/fmls/cqab046.
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Abstract This article seeks to examine the construction of female embodied identities via metamorphosis in two works of Uruguayan and French literature: Armonía Somers’s La mujer desnuda (1950) and Marie Darrieussecq’s Truismes (1996). The internal and external transformations of these heroines are a result of bodies that refuse to be disciplined into silence and passivity, and, instead, make a spectacle of themselves, symbolically voicing their right to take up space and delight in the unacceptable – the grotesque, nudity, lust. Hence, it is not surprising that both novels, in foreshadowing new ways of being in the female body, generated scandal and controversy. Read through the lens of écriture féminine, the much-debated ambiguity of these texts can be understood as a device affirming women’s corporeal autonomy. Nevertheless, the tragic ending of these tales ultimately points to society’s persistent and violent rejection of female excess as an embodied identity.
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Carravetta, Peter. "Book Review: Plotting the Past: Metamorphosis of the Historical Novel in Modern Italian Fiction." MFS Modern Fiction Studies 43, no. 4 (1997): 1045–47. http://dx.doi.org/10.1353/mfs.1997.0075.
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Kuris, Armand M., and Mona Y. Luo. "Science fiction: The biology of the alien in Alien." Biochemist 45, no. 6 (December 19, 2023): 14–17. http://dx.doi.org/10.1042/bio_2023_154.
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Parasites serve as a source of threatening outcomes for humans in many science fiction plots. Perhaps the most notable is the Xenomorph of the first Alien film (1979). Here, we use the film as the sole source of direct information to hypothesize its life cycle. We recognize a distinctive infective stage, the face-hugger. To further its development as an internal parasite in its human host, we conceive features of its physiology. It has an astonishing ability to manipulate the behaviour of its doomed host, before emerging as the famous chest-burster. It is clearly a parasitoid, requiring the death of its host. A further metamorphosis completes its development to the adult predator that roams the doomed spaceship Nostromo. The Xenomorph adult stage bears an uncanny resemblance to a parasitoid of salps, pelagic invertebrates. Conceptualizing its mythic biology offers insight into the physiology and biochemistry of real parasites.
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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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Mehmood, Sadaf. "Seesaw of Spatial Metamorphosis in Aravind Adiga’s Last Man in Tower." NUML journal of critical inquiry 18, no. II (August 3, 2021): 59–72. http://dx.doi.org/10.52015/numljci.v18iii.131.
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Urban space is inherently uneven. Economic pursuits and commercial integrity translate urban space into categorization of haves and have-nots.Neo-Marxists theorize spatial disequilibrium through the dynamics of capital accumulation.Analysis of Last Man in Tower by Aravind Adiga helps to explorecity space as a commodified place that serves the interests of capital accumulation by converting it as a space of differences, struggles and negotiations. While examining spatial alienation, I probe the making of urban other who experiences, evictions, and displacements followed by the development projects of capital accumulation in the theoretical frame of David Harvey’s accumulation by dispossession. The urban space expands and grows not for the urban other but for the elitist consumption. This directs the argument to inspect the creation of a critical spatial consciousness to assert the urban other’s right to the city. By retaliating to their evictions and dispossessions they devise strategies for remaking their space through their lived daily experiences. This has been supported by the theoretical lens of Henri Lefebvre’s “The right to the city”. The selected fiction defines uneven city space whereby the spatial metamorphosis dispossesses and displaces the urban other andraises critical spatial consciousness to obstruct subsequent displacements.
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Lemmer, Erika. "‘An entangled bank’: Evolusionêre patrone in die Winterbach-tweeluik Klaaglied vir Koos en erf." Tydskrif vir Letterkunde 50, no. 3 (May 18, 2018): 89–105. http://dx.doi.org/10.17159/tl.v50i3.5114.
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The novels of the contemporary Afrikaans writer, Ingrid Winterbach, display a distinctive predisposition towards naturalhistory and Darwinian ideas. Her fictionalisation of a nineteenth-century worldview is underpinned by an imaginative (neo- Victorian) exploration of Darwinian concepts such as growth, metamorphosis, transformation and evolution. In his study on the Darwinian imagination in Victorian fiction, George Levine identifies a gestalt of ideas (both detectable in novels and in science) which can be regarded as central to the Darwin project. Darwin’s metaphor of an entangled bank (which depicts life as an overcrowded space where numerous species compete, diversify and reproduce in a struggle for survival) will be specifically assessed in this evocritical reading of Winterbach’s earlier publications, Klaaglied vir Koos (“Dirge for Koos”, 1984) and Erf (1986).
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López Ramírez, Manuela. "Gothic Overtones: The Female Monster in Margaret Atwood’s “Lusus Naturae”." Complutense Journal of English Studies 29 (November 15, 2021): 103–13. http://dx.doi.org/10.5209/cjes.70314.
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In “Lusus Naturae,” Margaret Atwood shows her predilection for the machinations of Gothic fiction. She resorts to gothic conventions to express female experience and explore the psychological but also the physical victimisation of the woman in a patriarchal system. Atwood employs the female monster metaphor to depict the passage from adolescence to womanhood through a girl who undergoes a metamorphosis into a “vampire” as a result of a disease, porphyria. The vampire as a liminal gothic figure, disrupts the boundaries between reality and fantasy/supernatural, human and inhuman/animal, life and death, good and evil, femme fatale and virgin maiden. By means of the metaphor of the vampire woman, Atwood unveils and contests the construction of a patriarchal gender ideology, which has appalling familial and social implications.
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Vinczeová, Barbora. "A Journey Beyond Reality: Poetic Prose and Lush Imagery in Tanith Lee’s Night’s Master." Prague Journal of English Studies 5, no. 1 (July 1, 2016): 71–85. http://dx.doi.org/10.1515/pjes-2016-0004.
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Abstract Tanith Lee was a “highly decorated writer” (Chappell 1) whose work ranged from science-fiction, through fantasy and children’s literature to contemporary and detective novels. Although she published more than ninety novels and three hundred short stories, her audience has diminished through the years, affecting also the academic interest in her works. The aims of this article are to provide a literary analysis of one of her most famous novels, Night’s Master, and answer the question of why readers describe her prose as “lush” and “poetic”; and also interpret the recurring symbolism and themes of beauty, sexuality and metamorphosis in the work. This article also highlights the similarities between the novel and fairy tales in regard of numeric symbolism and morals.
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Shaviro, Steven. "“That Which Is Always Beginning”: Stevens's Poetry of Affirmation." PMLA/Publications of the Modern Language Association of America 100, no. 2 (March 1985): 220–33. http://dx.doi.org/10.2307/462291.
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Wallace Steven's later poetry traces the multiple investments of desire that impel a world in perpetual metamorphosis. The works from “Notes toward a Supreme Fiction” onward constitute an unlimited and ceaselessly repeated affirmation of difference, heterogeneity, and change. The evanescent movements of this poetry can never be reduced to sameness or self-identity, but they produce partial and temporary fixities of subjectivity and signification as local effects. Steven's radical perspectivism and his rejection of concepts of identity and substance work to subvert traditional dualisms of subject and object, language and world, and assertion and denial. But this work of displacement is never merely negative and destructive. Stevens's later poetry celebrates what Nietzsche calls “the eternal joy of becoming,” and in so doing it exceeds the limits of Western humanist thought.
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MAES-JELINEK, HENA. "Europe and post-colonial creativity: a metaphysical cross-culturalism." European Review 13, no. 1 (January 20, 2005): 91–102. http://dx.doi.org/10.1017/s1062798705000098.
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In Shakespeare's The Tempest, the meeting between Prospero and Caliban is an allegory of a Renaissance colonial encounter. Although Prospero emphasizes his gift of language to Caliban, he deems him incapable of ‘nurture’ (cultural progress). After the Second World War, the Barbadian novelist Georges Lamming saw in that gift the possibility of a ‘new departure’, which in the following decades was to modify not only Caliban's prospects but most emphatically the European, and specifically, the British cultural scene. I intend to illustrate this transformation through the contribution of postcolonial writers to the metamorphosis of the ‘Great Tradition’ of the English novel. The changes are formal, linguistic but also evince a metaphysical cross-culturalism best exemplified, among others, in the fiction of the Guyanese-born, British novelist Wilson Harris.
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Patra, Indrajit. "Exploring the intersection of Lovecraftian monstrosity and techno-body horror in selected works of Neal Asher: an examination of (post-)humanity." Multidisciplinary Reviews 6, no. 1 (July 2, 2023): 2023009. http://dx.doi.org/10.31893/multirev.2023009.
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This scholarly investigation aims to meticulously examine the various mechanisms employed by British science fiction writer Neal Asher in his works, including the Transformation trilogy (2015–17), Lockdown Tales (2020), and Lockdown Tales 2 (2023), to convey the erosion of humanity following profound physiological and cognitive changes. This research highlights how Asher skillfully combines elements of Lovecraftian grotesqueness with intricate portrayals of physical horror, thereby challenging conventional categorizations. These narratives feature a diverse ensemble of human and non-human protagonists, each subjected to transformative biotechnological, computational, and psychological enhancements. These processes raise questions about the feasibility of preserving even a semblance of humanity in an overwhelmingly advanced, distinctly post-human cosmological environment. While both biotechnological and Lovecraftian modes of horror explore humanity’s insignificance within a vast, indifferent, and often malevolent universe, Asher’s body of work consistently delves into the theme of how humans can retain their inherent humanity in the face of monstrous metamorphosis. Additionally, this investigation elucidates how such transformations give rise to the emergence of the “other” within oneself and the monstrous “Other” that takes center stage in the narrative. By exploring these themes, this study contributes to the scholarly discourse on the intersection of horror, transformation, and the preservation of humanity in science fiction literature.
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Dean, James. "Dismantling the Canterbury Book." Publications of the Modern Language Association of America 100, no. 5 (October 1985): 746–62. http://dx.doi.org/10.1632/s0030812900134923.
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Although several Chaucer scholars have argued for the last four tales of the Canterbury Tales as a concluding sequence, it has not been generally recognized that Chaucer ends his book deliberately and skillfully beginning with the Second Nun's Tale. Through the concluding stories Chaucer disengages himself and his audience from the fiction making of the Tales, moving toward his own voice in the Retraction, and he introduces themes of transformation in tales concerning the conversion of souls (Second Nun), the transmutation of metals through alchemy (Canon's Yeoman), the metamorphosis of Apollo's crow (Manciple), and the transforming powers of contrition and penitence (Parson, Retraction). The consistency of these closure themes provides evidence for the authority of the Ellesmere manuscript as against the highly regarded and recently published Hengwrt manuscript of the Tales, which has a different concluding tale order and which does not contain the Canon's Yeoman's Tale.
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Berglund, Karl, and Sarah Allison. "Larsson, Remade: A Computational Perspective on the Millennium Trilogy in English." PMLA/Publications of the Modern Language Association of America 139, no. 1 (January 2024): 82–96. http://dx.doi.org/10.1632/s0030812923001207.
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AbstractStieg Larsson's Millennium trilogy is part of a global hypercanon of popular fiction and thus a major commercial enterprise. In the translation of these works, the author and translator are joined by a host of shadowy figures—the source language publisher, scouts, literary agents, target language publishers, editors, and proofreaders—who transform the texts for a particular readership. This essay connects the market-oriented metamorphosis of paratext with substantial alterations to literary content itself. It is based on a computational study of the novels in Swedish and English that singled out major alterations to paragraph meaning and length across the three novels. The study showed that about 6.3% of the paragraphs have been cut or shortened by at least 30%. These extensive changes reveal a process of creative remaking, in which published works become raw content to be reshaped by commercial expectations and the demands of high production speed.
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Borkina, A. Y. "To understand yourself and the other: Metamorphosis and the search of the lost identity in the literary works of Kawakami Hiromi." Japanese Studies in Russia, no. 3 (October 12, 2023): 6–16. http://dx.doi.org/10.55105/2500-2872-2023-3-6-16.
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The paper analyzes three works of Japanese author Kawakami Hiromi, in which the motive of metamorphosis is the central element. Metamorphosis in Kawakami’s fiction is viewed as both the essential part of the mythological worldview and the method, demonstrating the life path of characters. In the short story “Hokusai” the protagonist meets a shapeshifter octopus. On the seashore, the octopus, craving for the love of women, turns into a human, later becoming unable to return to his primal shape. The octopus engages the protagonist in his game and the two of them go to a dark alleyway near a station to secretly watch the women passing by and then to follow one of them. The unstable shapeshifter is a mirror reflecting the main character as well as the catalyst pushing him back to active life, even if by means of revealing the protagonist’s “dark” side. The main character of “Tread on a Snake,” Hiwako, also meets a shapeshifter – a snake, claiming to be her mother and inviting her to a “warm world of snakes.” Because of this, the protagonist has to rethink her family history and to consider the life of people surrounding her, who have shapeshifter-snakes in their houses. In the end, Hiwako resists the final transformation and fights the snake in order to keep her own humanity. The main character of the novel “Someone” transforms seven times during the course of his life due to a genetic mutation, with each form having its own personality and being a metaphor of different stages of life cycle. Finally, the protagonist faces the necessity of consistent development, rather than abrupt changes, which earlier helped him to avoid the communicative issues with others. Thus, the protagonist manages to stop the series of shapeshifts, finding the ultimate integrity in his own being.
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Gymnich, Marion, and Alexandre Segao Costa. "Of Humans, Pigs, Fish and Apes: The Literary Motif of Human-Animal Metamorphosis and its Multiple Functions in Contemporary Fiction." L'Esprit Créateur 46, no. 2 (2006): 68–88. http://dx.doi.org/10.1353/esp.2006.0022.
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Kartiganer, Donald. "Ghost-Writing: Philip Roth's Portrait of the Artist." AJS Review 13, no. 1-2 (1988): 153–69. http://dx.doi.org/10.1017/s0364009400002336.
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In writing a trilogy of novels on the life and times of Nathan Zuckerman, American Jewish Writer, Philip Roth has waded manfully into a tradition even more thickly and brilliantly populated than the one he selected as literary background for The Breast. If the grotesque metamorphosis of David Kepesh into a six–foot, one–hundred–and–fifty–pound female breast compels us to compare Roths novel with some of the great texts of Kafka and Gogol, in Zuckerman Bound Roth invokes the more formidable context of James, Proust, Joyce, Lawrence, Mann, and Gide (to mention only a few), several of whose artist–portraits are identified in the trilogy and all implied. Roth has said in an interview that the novelty of this particular portrait is that it describes the comedy that an artistic vocation can turn out to be in the U.S.A.1 The comedy pertains not only to the career of Zuckerman himself, a series of zany encounters with writers, readers, and critics, whose responses to one Zuckerman fiction become the action of the next, but also to Roths typical strategy of challenging and recreating any prior tradition or convention, however sacrosanct. The crux of Rothian comedy is to expose, embarrass, and ridicule, to break bonds and boundaries, pieties and platitudes.
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Becker, Caroline Valada. "Imagens da crise: tendências ficcionais de Rui Zink." Letras de Hoje 51, no. 4 (December 31, 2016): 519. http://dx.doi.org/10.15448/1984-7726.2016.4..23654.
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O escritor Rui Zink, em uma “Nota do autor” inserida ao final do romance O Destino Turístico, explica que pretende criar uma “tetralogia sobre a crise”, composta por três romances e um livro de contos – O Destino Turístico (2008), A Instalação do Medo (2012), A Metamorfose e Outras Formosas Morfoses (2014) e Osso (2015). Efetivamente, a crise é o cerne dessas narrativas e une-se à temática da violência, do terrorismo e do medo, dando eco a problemas da Europa contemporânea. A ficção, portanto, mimetiza facetas do mundo empírico, e Rui Zink, por meio de enredos alegóricos e irônicos, desenha a condição humana contemporânea – desesperada, assustada e cruel. Aceitando a proposta do autor como chave de leitura (e não como aspecto limitador da análise), este artigo dedica-se ao estudo de tais obras (especificamente os romances) para mapear o signo da crise, utilizando algumas proposições de Zygmunt Bauman (2008, 2014).********************************************************************Images of the crisis: Rui Zink’s fictional patternsAbstract: The writer Rui Zink, in an inserted “Author’s Note” at the end of the novel O Destino Turístico (The Tourist Destination), explains that he aims to create a “tetralogy about the crisis”, composed of three novels and a book of short stories – O Destino Turístico (2008), A Instalação do Medo (2012, The Installation of Fear), A Metamorfose e Outras Formosas Morfoses (2014, The Metamorphosis and Other Beautiful Morphosis), and Osso (2015, Bone). In fact, the crisis is at the core of theses narratives and joins the violence, the terrorism, and the fear, reflecting contemporary European problems. The fiction, thus, mimics facets of the empirical world; and Rui Zink, by means of allegoric and ironic plots, draws the contemporary human condition – desperate, frightened, and cruel. This article accepts the author’s proposal as a reading key (and not as an aspect limiting the analysis) and is dedicated to the study of such literary works (specifically the novels) in order to map the sign of the crisis, taking into consideration some propositions of Zygmunt Bauman (2008, 2014).Keywords: Portuguese novel; Crisis; Contemporaneity.
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Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.
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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.
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Milner, Andrew. "Resources for a Journey of Hope: Raymond Williams on Utopia and Science Fiction." Cultural Sociology 10, no. 4 (June 21, 2016): 415–30. http://dx.doi.org/10.1177/1749975516631584.
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Raymond Williams had an enduring interest in science fiction, an interest attested to: first, by two articles specifically addressed to the genre, both of which were eventually published in the journal Science Fiction Studies; second, by a wide range of reference in more familiar texts, such as Culture and Society, The Long Revolution, George Orwell and The Country and the City; and third, by his two ‘future novels’, The Volunteers and The Fight for Manod, the first clearly science-fictional in character, the latter less so. This article will summarise this work, and will also explore how some of Williams’s more general key theoretical concepts – especially structure of feeling and selective tradition – can be applied to the genre. Finally, it will argue that the ‘sociological’ turn, by which Williams sought to substitute description and explanation for judgement and canonisation as the central purposes of analysis, represents a more productive approach to science fiction studies than the kind of prescriptive criticism deployed by other avowedly ‘neo-Marxist’ works, such as Darko Suvin’s Metamorphoses of Science Fiction and Fredric Jameson’s Archaeologies of the Future.
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MacDonald, Carolyn. "Echoes of Ovid? Memories of the Metamorphoses in Philostratus’s Imagines." Helios 49, no. 2 (September 2022): 113–45. http://dx.doi.org/10.1353/hel.2022.a904790.
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Abstract: This paper explores the cultural-ideological dimensions of Philostratus’s Imagines , a series of prose descriptions of paintings purportedly on display in a third-century CE Neapolitan villa. Taking a reader-response perspective, I argue that reminiscences of Ovid’s Metamorphoses complicate the avowed Hellenism of the text and its audience, transforming the Imagines into a series of reflecting pools that mirror back to readers their own images of Second Sophistic paideia . After analyzing the significance of the text’s setting in Roman Naples, I examine two types of Ovidian echoes in the Imagines : first, instances of physical metamorphosis in the fictive paintings described by the Philostratean ekphrast (Section 1); and second, constellations of ekphrases that evoke comparable thematic and narrative clusters in the Metamorphoses (Section 2). The paper concludes by reflecting on how Philostratus thematizes subjective projection as a key component of viewer-reader response (Section 3). This combines with the possible echoes of Ovid to entangle readers in the negotiation of Greek and Roman culture signaled by the text’s Neapolitan setting.
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Almgren White, Anette. "Den levandegjorda statyn." Tidskrift för litteraturvetenskap 44, no. 2 (January 1, 2014): 35–48. http://dx.doi.org/10.54797/tfl.v44i2.10513.
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The Animated Statue. An Intermedial Analysis of Statue Ekphraseis in Picture Books
This article examines the animation of statues in three Scandinavian picture books: Göran och draken (2002) by Ulf Stark and Anna Höglund, Hva skal vi gøre med lille Jill? (1976) by Fam Ekman and Malte möter Ängel en majkväll på Millesgården (2001) by Maria Hellstadius Wiberg and Karin Södergren. The transformation of humans from organic to inorganic matter is part of an abundant mythopoeia, which calls for a closer examination of the statue motif in children’s literature. This article examines the statue motif, aiming to shed light on the animated statue that children’s books with its dual audience can address. The modern western picturebook, with its strong affinity to the visual arts, is especially pertinent to this area of inquiry. This article employs an intermedial perspective in order to clarify how the animation of statues differs from that of toys. In contrast to a toy, a statue is a representation and therefore an index for something absent or alienated. The statue is a transformation, more precisely an ekphrasis (Bruhn 2000). This study therefore utilizes the differential model of Robillard (2010), designed to mark different medial relations between the ekphrasis and the plastic object, in order to uncover particular relations and the way in which they suggest associations to statue-ekphrasis. This analysis shows that animation is an artistic device relying on intermedial connections to depict conditions of mix-up, confusion, metamorphosis and reverie. The concept of a magic space is also addressed. On one hand, animation suggests art’s imaginative ability to enrich and breathe life into representations. On the other hand, statue-ekphrasis that brings forth the Verfremdungseffekt illustrates and raises awareness of the complex relation between fiction and nonfiction, life and death.
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Dmitrovskaya, Maria A. "FROM MARGARETE TO ZHEMCHUZHNIKOV (“LIGHT BREATHING” BY I.A. BUNIN)." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 3 (September 1, 2022): 46–71. http://dx.doi.org/10.18522/2415-8852-2022-3-46-71.
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The paper offers a non-canonical interpretation of Ivan Bunin’s “Light Breathing”, a text which became canonical in the 20th century thanks to Russian formalists and L.S. Vygotsky, as well as later interpreters, which had demonstrated the multiplicity and multilayered meanings of its poetic system. Faust code – one of the significant cultural archetypes of modernity – acts as the main semiotic key of the proposed interpretation. In the paper, within the framework of the structural method, the attention is focused on the following aspects of the text: name semantics, numerology, multilingual transitions and correspondences, intertextual analogies, the embeddedness of Bunin himself in the system of the story, etc. In addition to “Light Breathing” and other works of Bunin’s fiction, the material for the research was also his diaries and literary-critical essays. The paper shows that the central figure of the system is Russian poet Alexei Mikhailovich Zhemchuzhnikov: his patronymic name coincides with the patronymic of the story character Alexei Mikhailovich Malyutin (who says of himself that he is “Faust with Margarete”) and his surname is etymologically related to the name Margarete (‘pearl’). Consistently applied structural method allows to discover hidden levels of semantics and to understand the peculiarities of text composition. The presence of the figures and works of Zhemchuzhnikov, A.A. Fet and A.K. Tolstoy in the formation of the characters’ portraits and the nature of treatment of the theme of creativity in the short story is revealed. I examine the grounds of the principle of mirroring, the nature of metamorphosis, and the ways in which Bunin’s own presence is captured in the short story. The research provides an explanation of Bunin’s conceptual system as a whole, which includes notions of inverting the parts in the opposition sets: part – whole, singular – plural, old – young, masculine – feminine.
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Kečan, Ana. "(CYBER) PUNK'S NOT DEAD – RICHARD MORGAN'S ALTERED CARBON." Knowledge International Journal 34, no. 6 (October 4, 2019): 1603–7. http://dx.doi.org/10.35120/kij34061603k.
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The term cyberpunk refers to an offspring or subgenre of science fiction which rose to popularity in the 1980s. It was first coined by Bruce Bethke in his story of the same name, published in 1983. Even though there are critics today who claim that cyberpunk is long dead, numerous examples from the 21st century show that it is still very well and alive, and this revival is particularly aided by television, as cyberpunk has a massive visual potential. Hence, the 21st century saw the sequel to the cult Blade Runner (originally released in 1982), titled Blade Runner 2049 (released in 2017), another (fourth) sequel of The Matrix (set to be released in 2020), TV adaptations of Philip K. Dick’s Electric Dreams (2017) and, the main interest of this essay, Richard Morgan’s Altered Carbon (season 1 in 2018 and season 2 set to be released in 2020). In this essay we are going to, first, outline the main narrative and stylistic conventions of cyberpunk, which include: a time and place in the future dominated by advanced achievements in information technology, science and computers (hence the term ‘cyber’) at the expense of a loss or breakdown of social order (hence the term ‘punk’) to the point of a dystopia (or post-utopia, as has been argued); virtual reality, data networks, illusion, bodily metamorphosis, media overload, intensity of visual components, bordering on what Norman Spinrad said was a fusion of the romantic impulse with science and technology. All of these encapsulate a core theme of the loss of distinction between real and artificial. In addition to this, the term cyberpunk requires clarification against several other terms which often appear alongside it and are related in one way or another, including science fiction, neo-noir, hard-boiled, post-cyberpunk, transhumanism, post-anthropocentrism, etc. Second, we are going to look at how those elements come together in the context of the first novel of Richard Morgan’s trilogy about Takeshi Kovacs, titled Altered Carbon, published in 2002 (the sequels, Broken Angels - 2003 and Woken Furies – 2005, have not yet been adapted for television and will, therefore, not be included in our analysis). We are going to, then, compare those elements with the Netflix version of the novel, a 10-episode TV series, released in 2018. The comparison of the visual versus the verbal narrative will show the differences in the presentation of cyberpunk elements and how (or whether) these differences are dictated by the medium or not. It will also show whether what started out as a dystopia in the original text has grown into a post-utopia in the television series, simply reflecting the current trend of nostalgia and nostalgic recycling.
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Kaushik, Mayank Dutt. "The Unorthodox Jukebox of the Picaresque Young Girl Phenomenon: An amelioration of subsumable genres." Shodh Sari-An International Multidisciplinary Journal 02, no. 03 (July 20, 2023): 446–61. http://dx.doi.org/10.59231/sari7618.
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We live in a dodecahedron-structured cybernetic enmeshment of technology running through an extension of media convergence. In this context, the psychic fragmentation of a postmodern aesthetic is radically splintered and spreadeagled. The reflexivity praxis, embedded in a multisensory milieu navigating strange peregrinations (from modernity to postmodernity to post-post modernity), is tearing apart the current fabric, particularly through cinematic endeavors. Therefore, cinema hyphenates the piquant postmodernist aesthetics by orchestrating fragmentation, hyperkinetic synergy, anachronistic mode, pastiche, meta narratives, beats of simulacrum, and the dementia praecox of mutagenicity, to name a few. Films like Everything, Everywhere, All at Once (2022), directed by Daniel Kwan and Daniel Scheinert, encapsulate the current vertiginous reality through a metaverse of careening camera movement, frenetic editing, and the pulverization of the fractured self. A new neologism called “transgene” gets illustrated in the film, wherein multiple genre textures (science fiction, comic book aesthetic, melodrama, comedy, action, and an LGBTQ troupe) are indicated through singular sequences or even images in the film. This film clearly obfuscates the clarity of genre iconicity and exhibits a continuum of energy (flowing), but an interesting embodiment of the young girl concept through the character of Jobu Tupaki provides us with a structure in which postmodernism, transgene, and the young girl get encapsulated. The nihilistic and sassy daughter of Evelyn Wang has been fractured across realities of the metaverse, which renders her a powerful universal being bent on causing chaos and destruction. I shall attempt to outline the major configurations and reconceptualizations of several cinematic genres while foregrounding the plane of reality in which postmodernist cinema transforms into a trans-genre or rather undergoes a metamorphosis into a trans-genre. Additionally, it explores the phenomenon of a young girl functioning as a sublime and spectral obsequiousness amalgamated into the infrastructure of postmodernism, resulting in the atomization of trans-genres showcasing everything, everywhere, all at once. Furthermore, the confluence of these genre aesthetics prepares a bouillabaisse that embodies several configurations of young girls or the becoming of young girls (by all genders and ages) through an apocalyptic dread, permeable brain leaks, and a genre mix.
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Pakhsaryan, Natalia. "THE CROSSROADS OF CULTURES AND METAMORPHOSES OF TIME IN ANDREI' MAKINE 'S NOVELS." Herald of Culturology, no. 2 (2022): 111–26. http://dx.doi.org/10.31249/hoc/2022.02.06.
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The article discusses several novels by Andrei' Makine, a modern writer, in whose work Russian and French cultures are closely intertwined. The author of such works as The French Testament, Requiem for the East, The Woman Who Waited, etc., having emigrated to France in 1987, writes his novels in French. But in all his works the Russian theme is presented in one way or another. Besides the Russian literary tradition is important for the writer. The experience of I.A. Bunin, in particular, is especially revered by Andrei Makine. In his novels, this Franco-Russian author refers to different stages of Russian history of, including those that had occurred before his birth. On the one hand, he relies on the events of his own biography, introduces autobiographical elements into the plot of novels, on the other hand he constantly mixes these elements with fiction, shifts and pushes the boundaries of time. Fictional metamorphoses in A. Makine’s works allow him to express nostalgia for Russia in the artistic canvas of the text in French.
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May, Regine. "Stefan Tilg: Apuleius’ Metamorphoses. A Study in Roman Fiction." Gnomon 88, no. 7 (2016): 610–14. http://dx.doi.org/10.17104/0017-1417-2016-7-610.
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Flores, Ralph, and Alfred Corn. "The Metamorphoses of Metaphor: Essays in Poetry and Fiction." World Literature Today 62, no. 2 (1988): 339. http://dx.doi.org/10.2307/40143773.
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Blatchford, M. F. "Cyber against punk: Greg Bear’s Queen of Angels as metamorphosed cyberpunk." Literator 15, no. 3 (May 2, 1994): 55–70. http://dx.doi.org/10.4102/lit.v15i3.677.
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Recent American science fiction (which commercially dominates world science fiction) incorporates two schools of thought, ‘cyberpunk' and ‘hard SF’. which may be read to embody, respectively, radical/liberal and patriotic/ conservative propaganda. This article, after attempting to define aspects of these schools, examines Queen of Angels by Greg Bear (who before producing that text had been a proponent of hard SF). This text is shown to have strong elements of cyberpunk (possibly, to judge by one critical review, appealing to a cyberpunk audience) but to have transformed and inverted the radical and liberal themes of cyberpunk into conservative themes. The text thus illuminates philosophical and technical differences between the schools. It is suggested that the imagery of cyberpunk, and perhaps that of science fiction in general, is liable to such reversals of ideological significance.
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Brakovska, Jelena. "JOSEPH SHERIDAN LE FANU: METAMORPHOSES AND INNOVATIONS IN GOTHIC FICTION." CBU International Conference Proceedings 1 (June 30, 2013): 182–87. http://dx.doi.org/10.12955/cbup.v1.32.
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Notwithstanding the fact that the Anglo-Irish writer Joseph Sheridan Le Fanu was one of the most popular writers of the British Victorian era, his name and most of his works are not well-known to a common reader. The present research investigates how the author inventively modifies traditional Gothic elements and penetrates them into human’s consciousness. Such Le Fanu’s metamorphoses and innovations make the artistic world of his prose more realistic and psychological. As a result, the article presents a comparative literary study of Le Fanu’s text manipulations which seem to lead to the creation of Le Fanu’s own kind of “psychological” Gothic.
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Milner, Andrew. "Archaeologies of the Future: Jameson's Utopia or Orwell's Dystopia?" Historical Materialism 17, no. 4 (2009): 101–19. http://dx.doi.org/10.1163/146544609x12537556703197.
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AbstractThis paper begins with the proposition that Fredric Jameson's Archaeologies of the Future (2005) is the most important theoretical contribution to utopian and science-fiction studies since Darko Suvin's Metamorphoses of Science Fiction (1979). It argues that Jameson's derivation of 'anti-anti-Utopianism' from Sartrean anti-anti-communism will provide 'the party of Utopia' with as good a slogan as it is likely to find in the foreseeable future. It takes issue with Jameson over two key issues: his overwhelming concentration on American science-fiction, which seems strangely parochial in such a distinguished comparativist; and his understanding of Orwell's Nineteen Eighty-Four as an 'anti-Utopia' rather than a dystopia. The paper argues that, for Nineteen Eighty-Four, as for any other science-fiction novel, the key question is that identified by Jameson: not 'did it get the future right?', but rather 'did it sufficiently shock its own present as to force a meditation on the impossible?'. It concludes that Jameson fails to understand how this process works for dystopia as well as utopia, for barbarism as well as socialism.
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Kenaan, Vered Lev. "Delusion and Dream in Apuleius' Metamorphoses." Classical Antiquity 23, no. 2 (October 1, 2004): 247–84. http://dx.doi.org/10.1525/ca.2004.23.2.247.
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Abstract Considering the absence of any ancient systematic approach to the reading of the novel, this paper turns to ancient dream hermeneutics as a valuable field of reference that can provide the theoretical framework for studying the ancient novel within its own cultural context. In introducing dream interpretation as one of the ancient novel's creative sources, this essay focuses on Apuleius'Metamorphoses. It explores the dream logic in Apuleius' novel by turning to such authorities as Heraclitus, Plato, Cicero, Artemidorus, and Macrobius, whose characterization of the phenomenon of dreaming sheds light on specific narratological trtaits of theMetamorphoses. It argues that the lower dream category, the insomnium (or the enhupnion), provides a notion of textuality that can clarify the traditional status of the Metamorphoses as a marginal work of art. In contrast to divinely sent symbolic dreams, it is primarily the insomnium——conceived as a by-product of the lower functions of the soul——that lends psychological force to Apuleius' fiction.
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OUYANG, WEN-CHIN. "Metamorphoses of Scheherazade in literature and film." Bulletin of the School of Oriental and African Studies 66, no. 3 (October 2003): 402–18. http://dx.doi.org/10.1017/s0041977x03000284.
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This article traces the metamorphoses of Scheherazade, the heroine of The Thousand and One Nights' frame-tale, in modern fiction and film. It examines these metamorphoses in the context of a discussion of the function of narrative across cultures and disciplines. It looks more particularly at the role of genre ideologies—paradigms of knowledge implicit in generic expectations, ideologies external to genre, and subjectivities in narrative transformation—in transforming the story as it travels in time and across media of expression and cultures. Analysis of the Nights frame-tale, the story of Scheherazade, and its transformations, is further informed by an interrogation of the process of reading ‘texts’ critically. Do genre, ideology and subjectivity inform our readings of ‘texts’? In what ways do paradigms of knowledge perceived as inherent in these categories in turn affect our understanding of story and narrative?
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Coletta (book author), Cristina Della, and John Mastrogianakos (review author). "Plotting the Past. Metamorphoses of Historical Narrative in Modern Italian Fiction." Quaderni d'italianistica 19, no. 1 (April 1, 1998): 155–59. http://dx.doi.org/10.33137/q.i..v19i1.9624.
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Nicolini, Lara. "Apuleius’ Metamorphoses. A Study in Roman Fiction, written by Tilg, S." Mnemosyne 69, no. 4 (June 23, 2016): 719–24. http://dx.doi.org/10.1163/1568525x-12342168.
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Pallotta, Augustus, and Cristina della Coletta. "Plotting the Past. Metamorphoses of Historical Narrative in Modern Italian Fiction." Italica 75, no. 1 (1998): 133. http://dx.doi.org/10.2307/479596.
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Cox, Fiona. "The Metamorphoses of Myth in Fiction since 1960 by Kathryn Hume." Modern Language Review 118, no. 2 (April 2023): 241–42. http://dx.doi.org/10.1353/mlr.2023.0041.
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