Academic literature on the topic 'Metamorphosis in fiction'
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Journal articles on the topic "Metamorphosis in fiction"
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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.
Dissertations / Theses on the topic "Metamorphosis in fiction"
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Swarbrick, Josephine. "The Monstrous Masculine: Male Metamorphosis in Contemporary Science Fiction Cinema." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/672043.
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Aquesta tesi investiga la construcció i representació del monstre masculí en el cinema de ciència ficció contemporani. El monstre masculí en aquest cas és un home que experimenta una metamorfosi que trenca els binaris com, per exemple, masculinitat/feminitat, jo/altre i humà/maquina. Els cinc capítols examinen cince figures de masculinitat monstruosa: el mutant, el ciborg subjugat, el ciborg poderós, l’alienígena i el transhumà. Al cap i a la fi, la tesi pregunta per què els personatges masculins pateixen transformacions profunds, i normalment dolorosos, tan sovint a la gran pantalla.Esta tesis investiga la construcción y la representación de los monstruos masculinos en el cinema de ciencia ficción contemporáneo. El monstruo masculino en este caso es un hombre que experimenta una metamorfosis que resulta en la confusión de las categorías binárias cómo, por ejemplo, masculinidad/feminidad, humano/maquina o yo/otro. Los cinco capítols consideran cinco figuras de monstruos masculinos: el mutante, el cíborg subyugado, el cíborg-villano poderoso, el alienígena y el transhumano. La pregunta central de la tesis es por qué los hombres padecen transformaciones corporeales y psicológicas— y muchas veces dolorosas— tan frecuentamente en la gran pantalla.
This dissertation investigates the construction and representation of the monstrous masculine in contemporary science fiction cinema. That is to say, men who undergo a striking metamorphosis resulting in the blurring of binaries such as masculine/feminine, human/machine and self/other. A close-reading of key films and a consideration of their historical and socio-cultural contexts serves to identify and explore the mechanisms at work in the formation of male monsters as well as examining the growing presence and influence of technology and posthuman ideas in the portrayal of monstrous men. The five chapters consider five recurrent figures of monstrous masculinity: the mutant, the disempowered cyborg, the cyborg super villain, the alien and the transhuman. Ultimately, the thesis addresses the question as to why masculine characters so often undergo profound, often painful, corporeal and psychological transformations.
Universitat Autònoma de Barcelona. Programa de Doctorat en Teoria de la Literatura i Literatura Comparada
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Asibong, Andrew. "Metamorphosis and the meteque : transforming foreign bodie in contemporary French : Francophone fiction theatre and film." Thesis, King's College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411163.
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Chappell, Shelley Bess. "Werewolves, wings, and other weird transformations fantastic metamorphosis in children's and young adult fantasy literature /." Doctoral thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/226.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2007.Bibliography: p. 239-289.
Introduction -- Fantastic metamorphosis as childhood 'otherness' -- The metamorphic growth of wings : deviant development and adolescent hybridity -- Tenors of maturation: developing powers and changing identities -- Changing representations of werewolves: ideologies of racial and ethnic otherness -- The desire for transcendence: jouissance in selkie narratives -- Conclusion -- Bibliography -- Appendix: "The great Silkie of Sule Skerry": three versions.
My central thesis is that fantastic motifs work on a metaphorical level to encapsulate and express ideologies that have frequently been naturalised as 'truths'. I develop a theory of motif metaphors in order to examine the ideologies generated by the fantastic motif of metamorphosis in a range of contemporary children's and young adult fantasy texts. Although fantastic metamorphosis is an exceptionally prevalent and powerful motif in children's and young adult fantasy literature, symbolising important ideas about change and otherness in relation to childhood, adolescence, and maturation, and conveying important ideologies about the world in which we live, it has been little analysed in children's literature criticism. The detailed analyses of particular metamorphosis motif metaphors in this study expand and refine our academic understanding of the metamorphosis figure and consequently provide insight into the underlying principles and particular forms of a variety of significant ideologies.
By examining several principal metamorphosis motif metaphors I investigate how a number of specific cultural beliefs are constructed and represented in contemporary children's and young adult fantasy literature. I particularly focus upon metamorphosis as a metaphor for childhood otherness; adolescent hybridity and deviant development; maturation as a process of self-change and physical empowerment; racial and ethnic difference and otherness; and desire and jouissance. I apply a range of pertinent cultural theories to explore these motif metaphors fully, drawing on the interpretive frameworks most appropriate to the concepts under consideration. I thus employ general psychoanalytic theories of embodiment, development, language, subjectivity, projection, and abjection; poststructuralist, social constructionist, and sociological theories; and wide-ranging literary theories, philosophical theories, gender and feminist theories, race and ethnicity theories, developmental theories, and theories of fantasy and animality. The use of such theories allows for incisive explorations of the explicit and implicit ideologies metaphorically conveyed by the motif of metamorphosis in different fantasy texts.
In this study, I present a number of specific analyses that enhance our knowledge of the motif of fantastic metamorphosis and of significant cultural ideologies. In doing so, I provide a model for a new and precise approach to the analysis of fantasy literature.
Mode of access: World Wide Web.
[12], 294 p
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Bohnet, Christine. "Der metafiktionale Roman Untersuchungen zur Prosa Konstantin Vaginovs /." München : O. Sagner, 1998. http://books.google.com/books?id=6FRgAAAAMAAJ.
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James, Paula. "Unity in diversity a study of Apuleius' Metamorphoses : with particular reference to the narrator's art of transformation and the metamorphosis motif in the Tale of Cupid and Psyche /." Hildesheim ; New York : Olms-Weidmann, 1987. http://catalog.hathitrust.org/api/volumes/oclc/15604421.html.
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Meslet, Sandrine. "Métamorphoses hallucinatoires et mutations des personnages dans les romans d’Amin Maalouf." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040057.
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L’œuvre romanesque d’Amin Maalouf propose un traitement particulier du personnage qui dépasse le cadre habituel de son analyse. Objet de toutes les attentions mais aussi de tous les débordements, le personnage reflète l’ensemble des problématiques qui opèrent à l’intérieur de la fiction. On trouve ainsi dans les romans d’Amin Maalouf une contamination, voire même une dissémination, du personnage vers d’autres instances. Ces instances le prolongent en peuplant, à leur tour, le roman et en se proposant d’y laisser une empreinte poétique.Les métamorphoses et les mutations successives, dont le roman fait l’objet, viennent relayer sa présence, lui octroyant une dimension nouvelle. En multipliant ses appartenances et ses origines, la fiction propose un voyage à travers les multiples facettes du personnage qui lui permettent de renouer avec sa nature originelle. Tourné vers le mouvement, aspirant à se redéfinir au travers des autres instances textuelles, le personnage s’impose comme un véritable agent romanesque. La thèse propose ainsi de révéler précisément les tenants de ces métamorphoses et de ces mutations romanesques, afin de mettre en lumière les infinis prolongements qui concourent à l’élaboration d’une poétique singulièreAmin Maalouf’s novels offer a special treatment of the character beyond the usual scope of its analysis. The object of all attention and excesses, the character reflects all issues operating within the fiction. Thus we find in Amin Maalouf’s fiction a sort of contamination, even a release of the character to other authorities. Throughout the novel these authorities extend adopt traits of the main character as personifications. They extend its presence their presence, occupy the fiction in their turn and try to leave a poetic mark.Metamorphoses and successive mutations, of which the novel is the subject, just relay its presence, giving it a new dimension. Increasing its appurtenances and its origins, fiction offers a journey through the many facets of character that allow it to return to its original nature. Facing movement, aspiring to redefine itself through other textual authorities, the character stands out as a true romantic agent.The thesis proposes to reveal precisely the proponents of these metamorphosis and mutations of fictions to highlight the infinite extensions that contribute to the development of a singular poetic
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Woelfel, Anne Esrelle. "Le système cadiot : l'hétérogène dans le champ de l'expérience." Thesis, Pau, 2014. http://www.theses.fr/2014PAUU1003/document.
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Le concept d'hétérogène est souvent employé pour définir une littérature contemporaine qui transgresse les catégories génériques traditionnelles, multiplie les références littéraires, pratique les changements de registre, les ruptures narratives ou formelles, qui mêle fiction et réalité. Chez Olivier Cadiot, ce trait de non-genre – polygénéricité et amphibologie narrative – est au service d'une écriture de l'expérience subjective. La fiction se coule dans une forme piège pluridimensionnelle modelée sur le flux de la conscience et la volatilité de la pensée. Le récit brasse les images, les impressions fugitives, les configurations imaginaires, composant avec une matière textuelle sensible, émotionnellement dense. Déployant son plan de multiplicité, l'écriture cadiotienne de l'hétérogène intègre les fragments d’énoncés, les concepts, les données factuelles, les perceptions, les phénomènes psychiques, la mémoire individuelle dans un système textuel et expérientiel ouvertLe concept d'hétérogène est souvent employé pour définir une littérature contemporaine qui transgresse les catégories génériques traditionnelles, multiplie les références littéraires, pratique les changements de registre, les ruptures narratives ou formelles, qui mêle fiction et réalité. Chez Olivier Cadiot, ce trait de non-genre – polygénéricité et amphibologie narrative – est au service d'une écriture de l'expérience subjective. La fiction se coule dans une forme piège pluridimensionnelle modelée sur le flux de la conscience et la volatilité de la pensée. Le récit brasse les images, les impressions fugitives, les configurations imaginaires, composant avec une matière textuelle sensible, émotionnellement dense. Déployant son plan de multiplicité, l'écriture cadiotienne de l'hétérogène intègre les fragments d’énoncés, les concepts, les données factuelles, les perceptions, les phénomènes psychiques, la mémoire individuelle dans un système textuel et expérientiel ouvert
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Penot-Lacassagne, Olivier. "Les metamorphoses de la croyance. Antonin artaud et les fictions de l'esprit." Paris 3, 2000. http://www.theses.fr/2000PA030157.
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Entre 1919 et 1939, dans ce "symposium imaginaire" ou pendant plus de vingt ans les plus grands esprits europeens se rencontrent, fleurissent les "discours de l'inquietude" (derrida). Autour des memes questions et des memes mots (europe, esprit, culture, orient, occident. . . ), requisitoires et rhetoriques se deploient et disent l'inadequation du sens et de l'actualite. L'oeuvre d'artaud partage, partiellement, les inquietudes que ces discours contiennent et les bouleversements qu'ils recelent mais bien qu'engage dans une revision generale des valeurs occidentales, artaud deserte l'espace critique de ses contemporains. Son geste de rupture, a la logique complexe, repose sur une certaine comprehension, evoluant texte apres texte, du rapport homme-monde. C'est ce geste, les croyances qu'il pourfend et celles qu'il affirme, que nous analysons.
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Lesage, Claudine. "Sources et metamorphoses de la creation litteraire chez joseph conrad." Amiens, 1987. http://www.theses.fr/1987AMIE0008.
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Le propos s'articule en deux parties qui correspondent aux tomes 1 et 2 , le troisieme tome est consacre au dossier iconographique. La premiere partie s'interesse plus particulierement a la periode marseillaise de joseph conrad (1874-1878). Elle tente de prouver le role primordial de ces annees de formation qui allaient ressurgir plus tard tout au long de son oeuvre litteraire. Elle fait sortir de l'oubli des gens rencontres, des lieux frequentes, des lectures faites a cette epoque en exploitant des documents tras varies (roles d'equipages, journaux, plans, photographies, lettres, guides historiques, etc. . . ). La seconde partie traite de l7afrique dans l'oeuvre de joseph conrad. On tente de definir la part de l'ecriture qui correspond a la realite africaine du debut du siecle; par des rapprochements avec des ecrits d'explorateurs africains comme stanley et living stone, on essaie d'analyser les procedes d'ecriture employes par conrad. Un parrallele est etabli entre l'ecriture conradienne et la peinture ainsi que les arts sceniques et la musique, tentant de definir ainsi le symbolisme de conradThe two main parts (book 1; book 2) deal with facts and fiction in joseph conrad's works; book 3 contains documents, photographs, engravings, maps. Book one deals with conrad's years in marseilles (1874-1878). It is an attempt to show how the seeds were then sown of certain themes that were to reappear many years later and play a fundamental part in conrad's works. It sheds a fresh light on some of the people he met, the places he went to and the books he read. The documents pertaining to that period, in book 3 are very varied: nautical lists, newspapers, photographs, plans, letters guides, ect. . . Book 2 is about africa and particulary life in africa at the time when conrad travelled on the river congo, how he transmitted his own experienceinto his writing. It compares conrad's approach to writing with that of stanley and livingstone. Il shows conrad's ability to create new, original techniques. A comparison with painting, music and stage arts explores conrad's symbolism
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Perkins, Hilary Elaine. "'Plastic' perspectives : ecocriticism, epigenetics and magic real metamorphoses in the fiction of Suniti Namjoshi, Githa Hariharan and Salman Rushdie." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/418008/.
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In current research across the humanities and science, there is a burgeoning interest in ‘plasticity,’ epigenesis and ecocriticism. This project brings ideas from these fields together, and asks how they may be expanded and illuminated by metamorphoses articulated in Magic Real fiction. Thus, I argue that Magic Real literature has a significant role in disseminating contemporary bio-scientific ideas. My methodology consists of applying Catherine Malabou’s theory of plasticity to literature, arguing that ‘plastic readings’ evoke more complex and ecologically generative models of metamorphosis. As such, they subvert the merely ‘flexible’ or often vaunted general ‘interconnectedness’ of life. Philosopher of Biology John Dupré highlights the centrality of process to biological science, refuting the existence of discrete and unique individuals, and arguing that ecosystems are far more synergetic than a relatively simple interrelatedness suggests. Indeed, his theory of ‘promiscuous individualism’ repudiates the existence of discrete individuals, and ‘promiscuous realism’1 renounces inflexible species categories. The removal of such rigid classifications enable varied and limitless ‘plastic perspectives’ as evident in Magic Real fiction, and affectively convey more authentic, intensely ‘felt’ and shared responses to the environment. Thus, this thesis indicates ways in which a fusion of Magic Real literature and biological science, may productively contribute to ecocriticism. Furthermore, metaphors of skin describe the inclusiveness and ‘literal’ physicality of biological transformation in visceral and fantastic ways, connecting literature with science, and broadening the field of ecocriticism through approaches that challenge the centrality of the human self. Ecocriticism, defined by Cheryll Glotfelty in The Ecocriticism Reader, as ‘the relationship between literature and the environment,’ has previously largely involved a partial focus on ‘human’ environments, totemic species and the scientific or ‘factual’ genres of non-fiction and Western documentary. This thesis addresses these prejudices through the analysis of the work of two lesser known Postcolonial writers Suniti Namjoshi and Githa Hariharan. Their Magic Real literature addresses out-dated hierarchies of nation, gender, species and genre by elucidating metamorphoses of domestic or ‘lesser’ creatures, rather than the charismatic-megafauna more usually the subject of fiction and often employed by environmental conservation campaigns.
Books on the topic "Metamorphosis in fiction"
More sourcesBook chapters on the topic "Metamorphosis in fiction"
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Coelsch-Foisner, Sabine. "A Portrait of the Artist as a Sophist — Plato and Iris Murdoch’s Art of Fiction." In Metamorphosis, 321–60. Dordrecht: Springer Netherlands, 2004. http://dx.doi.org/10.1007/978-1-4020-2643-0_24.
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Axelrod-Sokolov, Mark. "The Madness of Marginalization in Kafka’s The Metamorphosis." In Madness in Fiction, 41–58. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70521-7_3.
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Bell, Millicent. "From Washington Square to The Spoils of Poynton: Jamesian Metamorphosis." In Henry James The Shorter Fiction, 95–113. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25371-5_6.
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Bruguière, Catherine, and Denise Orange Ravachol. "Problematisation, Narrative and Fiction in the Science Classroom." In Shaping the Future of Biological Education Research, 21–34. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-44792-1_2.
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AbstractThis paper focusses on the didactic functions of problematisation, narrative and fiction in the science classroom. The approach we propose to address these issues takes into account the epistemological specificities of biology (functionalist and historical sciences). Based on this epistemological foundation, we will first present the theoretical framework of problematisation developed over more than 20 years in France, before exploring the more recent notion of realistic fiction by situating it in relation to work in biology didactics that borrows from the frameworks of narrative and/or fiction. Our two-part paper aims to initiate a dialogue between these different theoretical frameworks and to question their points of convergence and divergence through examples taken from our research work (blood circulation, molecular renewal, animal metamorphosis). To what extent can fictional narratives contribute to constructing problematised biological knowledge? How does the shift to extra-ordinary modes of reasoning allow us to move away from storytelling?
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Cousins, Helen. "Morphing Forms: Metamorphosis in Twenty-First-Century British Women’s Experimental Short Fiction." In Rethinking Identities Across Boundaries, 165–82. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-40795-6_9.
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Kartiganer, Donald. "Fictions of Metamorphosis: From Goodbye, Columbus to Portnoy’s Complaint." In Reading Philip Roth, 82–104. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19119-2_7.
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Trnka-Amrhein, Yvona. "Chapter 18. Plotting Plotina? The reception of an empress in Roman provincial prose (fiction)." In The Reality of Women in the Universe of the Ancient Novel, 277–96. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/ivitra.40.18trn.
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This chapter explores the reception of the empress Plotina in three texts from three literary traditions within the Roman Empire: the Acta Hermaisci, the Talmud, and Apuleius’ Metamorphoses. It argues that the Plotina character we see in these texts is based on an idea of the Roman empress’ ability to influence the emperor to the detriment of provincial groups. This ‘plotting Plotina’ figure is the opposite of the official ideal found in Pliny’s Panegyricus and may develop the suspicion we see in Roman historical texts that Plotina exercised improper influence on Hadrian’s succession. Indeed, the motherhood of the ‘plotting Plotina’ character may respond to the problematic childlessness of the real empress. In addition to exploring how provincial texts fictionalized a historical woman to articulate the powerlessness of being a Roman subject, this chapter provides an example of how one theme could be deployed in texts from different cultures written in the same empire. It thus offers a perspective on how a broad understanding of ‘imperial literature’ can inform our knowledge of connections between the literary cultures that coexisted under Roman rule.
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"Chapter Four. Metamorphosis." In The Fiction of Relationship, 153–96. Princeton University Press, 1990. http://dx.doi.org/10.1515/9781400859641.153.
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"Chapter 1: Metamorphosis and Fiction." In Playing Gods, 15–59. Princeton University Press, 2010. http://dx.doi.org/10.1515/9781400836543.15.
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"Truths in Fiction, the Metamorphosis of Journalism:." In The Novel, 1048–78. Harvard University Press, 2014. http://dx.doi.org/10.2307/j.ctt6wprpn.48.
Full textConference papers on the topic "Metamorphosis in fiction"
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Brakovska, Jelena. "JOSEPH SHERIDAN LE FANU: METAMORPHOSES AND INNOVATIONS IN GOTHIC FICTION." In CBU International Conference on Integration and Innovation in Science and Education. Central Bohemia University, 2013. http://dx.doi.org/10.12955/cbup.2013.32.
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Edman, Timucin. "THE REVOLUTION AND METAMORPHOSE OF THE HUMAN IN THE SCIENCE FICTION, THE LAWNMOWER MAN." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.2/s09.051.
Full textReports on the topic "Metamorphosis in fiction"
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.
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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.