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Journal articles on the topic 'Mountains - Fiction'
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1
Shelby, Anne. "Appalachian Literature And American Myth: Fiction From The Southern Mountains." Appalachian Heritage 13, no. 4 (1985): 50–63. http://dx.doi.org/10.1353/aph.1985.0071.
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Shelby, Anne. "Appalachian Literature and American Myth: Fiction From The Southern Mountains." Appalachian Heritage 14, no. 1 (1986): 42–55. http://dx.doi.org/10.1353/aph.1986.0072.
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Davis, Donald, and Jeffrey Stotkit. "Feist or Fiction?: The Squirrel Dog of the Southern Mountains." Journal of Popular Culture 26, no. 3 (December 1992): 193–201. http://dx.doi.org/10.1111/j.0022-3840.1992.2603_193.x.
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Kolbuszewski, Jacek. "Uwagi o początkach „literatury górskiej”." Góry, Literatura, Kultura 14 (August 17, 2021): 11–48. http://dx.doi.org/10.19195/2084-4107.14.3.
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One of characteristic phenomena in contemporary Polish literary culture is the emergence of a niche phenomenon of mountain literature. The term “mountain literature” has become part of colloquial discourse, also aspiring to be present in the language of literature studies (including literary criticism), which previously featured terms like “Alpine literature”, “mountaineering literature”, “Tatra literature”, “Tatra prose”. Other commonly used terms were “mountain climbing literature” and “exploration literature”. The term “Alpine literature” was introduced into scholarly discourse by Claire-Éliane Engel (1903–1976). The author of the present study points to links between the history of mountain literature, and the history of mountain exploration as well as history of tourism and mountaineering, referring to the literary traditions of various mountain ranges: the Alps, the Tatras, Karkonosze (Giant Mountains), Bieszczady, Gorce, Beskids, Góry Świętokrzyskie (Holy Cross Mountains). In addition, there are strands of research dealing with a typological analysis of mountain motifs and their function. The significance of such studies lies in the fact that they demonstrate in a clear manner the introduction of mountain motifs into literature and the evolution of the artistic forms of their expression. However, transformations in the literary approach to the mountains cannot be documented only by means of a territorial selection of specific motifs, and the whole question of depicting mountains and responding to them cannot be locked within the limited framework of the various national literatures. What is useful in this respect is a comprehensive comparative approach to the subject matter, interpreted both in the synchronic (formation of attitudes) and diachronic perspective (so-called influences, impact of models, borrowing of poetics also in connection with changes in tourist or mountaineering styles). What becomes of crucial significance here is the use of more general categories and comprehensive collective terms — mountain literature, mountaineering literature, mountain climbing literature. These categories encompass works dealing primarily with the mountains and human interactions with them. They bring in a supranational and supraterritorial understanding of the subject of mountains, without limiting the role of territorial detail in the construction of literary motifs and images. In defining mountain literature the author uses the classification of the function of nature motifs in literary works presented by Tadeusz Makowiecki in Sprawozdania Towarzystwa Naukowego w Toruniu in 1951, in his article “Funkcja motywu przyrody w dziele literackim” (Function of a nature motif in a literary work).1 On the other hand, when it comes to the phenomena discussed in the study, what is representative of fiction is a type of narrative genre known as mountain novel (roman de montagne, Bergroman). Referring to archetypic formulas of mountain literature (Dante, Petrarch, Salomon Gessner, Jean A. Deluc, H.B. de Saussure), the author points to their formal aspects: thematic-substantive, linguistic and genological. In addition, he discusses the emergence of mountaineering literature (Edward Whymper, Leslie Stephen, Polish mountaineers’ prose).
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Syme, Ronald. "The Cadusii in history and in fiction." Journal of Hellenic Studies 108 (November 1988): 137–50. http://dx.doi.org/10.2307/632636.
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Lands and peoples on the northern edge of an empire never fail to arouse curiosity; and their first entry into history exhibits sharp contrasts. The Hyrcani made a notable impact when Alexander in the year 330 invaded their country.Hyrcania permits a fairly close definition. It occupied the southeastern corner of the Caspian (a sea which frequently took that name). To the north was the wide steppe, inhabited by the Dahae, on the east the region Margiana. To the south Hyrcania extended into the Elburz mountains; and under the last Achaemenid it formed one satrapy with Parthyene, its neighbour on the southeast. Belonging to the narrow neck between the Caspian and the Salt Desert, Hyrcania lay beside the highroad from Ecbatana to Bactra. Hence a vital link for successive imperial powers.
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Toufexis, Jesse. "“Westmount’s Sinai”: Projecting a Jewish Landscape onto Montreal through Fiction." Canadian Jewish Studies / Études juives canadiennes 31 (May 18, 2021): 148–58. http://dx.doi.org/10.25071/1916-0925.40216.
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For Canadian Jewish authors, every peak and every valley, every lake and every island, every forest and every plain, is a potential locus for mythic energy. In this brief article, I wish to offer a glimpse into the implicit means by which Jewish authors project a specifically Jewish landscape onto their surroundings. Through a short study of Chava Rosenfarb’s Edgia’s Revenge and Leonard Cohen’s The Favourite Game, I will explore both authors’ uses of Mount Royal and the Laurentian Mountains as sacred spaces in the tradition of earlier Jewish stories involving mountains and wilderness. These similarities are especially poignant when we consider Cohen and Rosenfarb’s very different experiences of being Jewish in the world—one a wealthy uptown Jew from Montreal and the other a survivor of the Holocaust.Pour les auteurs juifs canadiens, chaque sommet et vallée, chaque lac et île, chaque forêt et plaine, est un lieu potentiel d’énergie mythique. Dans ce bref article, je souhaite offrir un aperçu des moyens implicites par lesquels les auteurs juifs projettent un paysage spécifiquement juif sur leur environnement. À travers une brève étude d’Edgia’s Revenge de Chava Rosenfarb et The Favourite Game de Leonard Cohen, j’explorerai les usages par les deux auteurs du Mont Royal et des Laurentides en tant qu’espaces sacrés dans la tradition d’histoires juives antérieures sur les montagnes et la nature. Ces similitudes sont particulièrement probantes lorsque nous considérons les expériences très différentes de Cohen et Rosenfarb de vivre leur judéité — l’un un juif nanti élevé à Westmount et l’autre une survivante de l’Holocauste.
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Derjani-Bayeh, Sylvana, and Claudio Olivera-Fuentes. "Winds are from Venus, mountains are from Mars: Science fiction in chemical engineering education." Education for Chemical Engineers 6, no. 4 (December 2011): e103-e113. http://dx.doi.org/10.1016/j.ece.2011.08.002.
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Jackson, Kenneth David. "THE DIAPHANOUS VEIL OF SATIRE: EÇA’S MESSAGE TO MACHADO IN THE CITY AND THE MOUNTAINS." Revista de Estudos Literários 6 (October 1, 2017): 83–94. http://dx.doi.org/10.14195/2183-847x_6_3.
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By the late 1890s Eça de Queirós had certainly read Machado’s two major novels to date, the Posthumous Memoirs of Brás Cubas (1880-81) and Quincas Borba (1890), after acknowledging Machado’s critiques of Cousin Bazilio, published in O Cruzeiro in April, 1878. A novel form of indirect communication between the two authors can be located in their fiction. In The City and the Mountains (1901) Eça replies indirectly to Machado with a satire of several of Machado’s main themes in the two novels, from the philosophy of “Humanitism” to the useful work of worms.
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Burley, Mikel. "“Mountains of Flesh and Seas of Blood”: Reflecting Philosophically on Animal Sacrifice through Dramatic Fiction." Journal of the American Academy of Religion 85, no. 3 (March 23, 2017): 806–32. http://dx.doi.org/10.1093/jaarel/lfx006.
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Guskova, A. A. "Demonology of geography." Voprosy literatury, no. 6 (February 7, 2019): 50–68. http://dx.doi.org/10.31425/0042-8795-2018-6-50-68.
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The article examines the ‘geographical dimension’ of modern Russian prose, in particular, through a mythological, and even demonological, prism. The mythological-dimensional complex is especially prominent in the Urals-themed works by O. Slavnikova (2017 (2006)) and A. Ivanov (his 2-volume series Parma’s Heart, or Cherdyn – The Mountain Princess [Serdtse Parmy, ili Cherdyn – knyaginya gor] (2003) and The Gold of the Uprising, or Down the River Gorge [Zoloto bunta, ili Vniz po reke tesnin] (2005)). Not only do the novels promote a region-specific metaphorical and mystic flavor of theUral Mountains, but they also feature very active and authentic demons, thus creating a unique provincial topos, whose spiritual quality stands out especially in comparison with its callous and apathetic metropolitan counterpart. Mainly based in the spiritual opposition between the Urals and the capital city, the conflict in the novels by Slavnikova and Ivanov is resolved in a historical dimension, because the hitherto culturally unexploredRussia offers unlimited riches for literary and mythological constructs and their integration into fiction.
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Bhatia, Monish, and Eddie Bruce-Jones. "Time, torture and Manus Island: an interview with Behrouz Boochani and Omid Tofighian." Race & Class 62, no. 3 (January 2021): 77–87. http://dx.doi.org/10.1177/0306396820965348.
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Former asylum seeker detainee and journalist Behrouz Boochani (author of No Friend but the Mountains) and his collaborator Omid Tofighian speak about the experience of indefinite incarceration on Australia’s Manus Island and the psychological toll of waiting. They compare this form of detention to prison and the existential impact to torture. This Kyriarchal System, they argue, strips the individual of identity and humanity and they explain how such a system can perhaps be questioned better through the poetic fiction that Boochani has used in his path-breaking narrative than through appeal to dry rational facts and figures.
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Swain, Tamishra, and Shalini Shah. "Navigating Gendered Space with Special Reference to Lil Bahadur Chettri’s Mountains Painted with Turmeric." Bodhi: An Interdisciplinary Journal 7 (December 31, 2019): 149–60. http://dx.doi.org/10.3126/bodhi.v7i0.27908.
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It is rightly put by the French philosopher Simone De Beauvoir in her book ‘Second Sex’ that “one is not born but made a woman”. So, women are treated secondary as compared to men for a long time. Similar view has been propounded by Judith Butler in her book ‘Gender Trouble’ that female identity has been created by repetitive performances and further, gender identity is not fixed rather it is created. There are certain agencies through which these ideologies came in to function. One of such agencies is “space” which is not necessarily physical and fixed but can be mental/psychological and fluid. This space can also use as subversive technique to control certain part of the society. This paper tries to analyze a Nepali fiction ‘Mountains Painted with Turmeric’ by Lil Bahadur Chettri to understand the subversive practices of space and how it controls gender identity.
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WALLACE, BRIAN. "NANA SAHIB IN BRITISH CULTURE AND MEMORY." Historical Journal 58, no. 2 (May 11, 2015): 589–613. http://dx.doi.org/10.1017/s0018246x14000430.
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AbstractThe Indian Rebellion leader Nana Sahib became Victorian Britain's most hated foreign enemy for his part in the 1857 Cawnpore massacres, in which British men, women, and children were killed after having been promised safe passage away from their besieged garrison. Facts were mixed with lurid fiction in reports which drew on villainous oriental stereotypes to depict Nana. The public appetite for vengeance was thwarted, however, by his escape to Nepal and subsequent reports of his death. These reports were widely disbelieved, and fears persisted for decades that Nana was plotting a new rebellion in the mountains. He came to be seen as both a literal and symbolic threat; the arrest of suspects across the years periodically revived the memories and the atavistic fury of the Mutiny, while his example as the Victorians' archetypal barbaric native ruler shaped broader colonial attitudes. At the same time, he influenced metropolitan perceptions of empire through the popular Mutiny fictions in which he was a larger-than-life villain. Tracing Nana's changing presence in the British collective memory over generations illustrates the tensions between metropolitan and colonial ideas of empire, and suggests the degree to which an iconic enemy figure could shape perceptions of other races.
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Burykin, Aleksey A. "Древности и этнографические реалии Монголии в описании путешествий И. А. Ефремова («Дорога ветров», 1955)." Бюллетень Калмыцкого научного центра Российской академии наук 16, no. 4 (November 27, 2020): 130–48. http://dx.doi.org/10.22162/2587-6503-2020-4-16-130-148.
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Introduction. I. A. Efremov (1907–1972) known as the science-fiction writer was first of all a prominent geoscientist and palaeonthologist. Goal. The goal of the article is to analyze the descriptions of antiquities and ethnographic descriptions of Mongolia in I. A. Efremov’s book “The Road of Winds” (1955), that represents the edited notes of the scientist’s paleonthological expeditions and travels in Mongolia in 1946, 1948 and 1949. Results. I. A. Efremov in his book follows the established tradition of the descriptions of travels along the steppes, mountains and deserts. The book contains the description of the old Ulan-Bator, Khangai Mountains, the characteristics of the roads in Mongolia in their conditions and historical perspective, the recordings of the anthropological and archaeological findings. The different observations of the scientist related to the Mongolian ethnography are of great value, the author often points out the cultural phenomena that were not found in ethnographic research. I. A. Efremov’s travel notes were influenced by the way of traveling in the country (during the expeditions people traveled by trucks) as well as the time of reorganization of the economy, culture and lifestyle in Mongolia.
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Yakushenkov, Sergey N. "OVER THE FOREST, OVER THE MOUNTAINS SHOWED THE MAN AN AXE: LIMERICK AND FICTION AS A COLONIAL MENTALITY." HUMANITARIAN RESEARCHES 60, no. 4 (2016): 091–99. http://dx.doi.org/10.21672/1818-4936-2016-60-4-091-099.
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D Singh, Dr Madhu. "The Craft of Short Story : A Critique of The Habit of Love." SMART MOVES JOURNAL IJELLH 9, no. 7 (July 28, 2021): 130–38. http://dx.doi.org/10.24113/ijellh.v9i7.11130.
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Author of several works of fiction and non fiction , Namita Gokhale is a well known name in the field of Indian Writing in English not only as a writer but also as a publisher and as a founder director of Jaipur Literature Festival . Her short stories published under the title The Habit of Love ( 2012) are remarkable for adding a new dimension to the craft of short story writing.
The Habit of Love is a collection of thirteen short stories encapsulating the myriad experiences of their female protagonists who lay bare before the readers their inner world – their desires , passions, fear , anxiety, happiness, anger , ennui and sadness – in kaleidoscopic lights. Based mainly on the themes of love, lust and death , these stories are interwoven with the motifs of time, memory , dreams travels and mountains. The writer frequently shifts from present to past or vice versa , making several technical innovations like unexpected , abrupt endings; use of startling similes/ metaphors; choice of queer , quirky titles for these short stories. The use of the technique of first person narrative in many of these stories imparts more intimacy to them as if the narrator is engaged in a tete- a- tete with her readers. Gokhale emphasizes the importance of a convincing narrative voice in making a short story effective. In response to a question as to which is the most critical part of a story: the storyline, the characters or the storytelling, she says, “Finding the right voice that convincingly tells the story, whether in first person or otherwise is the most crucial part.”( Recap: Twitter chat with Namita Gokhale,TNN,22 March 2018 )
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Wallace, Jennifer. "A (Hi)story of Illyria." Greece and Rome 45, no. 2 (October 1998): 213–25. http://dx.doi.org/10.1017/s0017383500033714.
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Throughout history, little has been known about the land of Illyria. ‘As ”savages” or “barbarians” on the northern periphery of the classical world’, the historian John Wilkes writes, ‘even today the Illyrians barely make footnotes in most versions of ancient history, and more often than not they are simply ignored.’ Shut in by mountains, north of the betterknown Greece and covering roughly the area of modern-day Albania, Macedonia, and Bosnia, Illyria has remained a closed world to outsiders, dismissed as barbarian in ancient times and remembered in more recent centuries only as an unexplored outpost of the Ottoman or Hapsburg Empires. As a result, Illyria has become a place of mystery, the site of myth and legend as much as of historical civilization-building or battles, a by-word for the realm of the imagination. Oscar Wilde summed up the popular association of Illyria with fiction when, in a review of an amateur production of Twelfth Night, he wrote with characteristic succinctness: ‘Where there is no illusion there is no Illyria.’
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Karpukhina, Viktoriya N. "Gender Aspect of the Image of Altai in George Grebenstchikoff’s Works." Imagologiya i komparativistika, no. 14 (2020): 210–18. http://dx.doi.org/10.17223/24099554/14/10.
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The paper considers gender characteristics of the image of Altai in fiction and publicistic texts by George Grebenstchikoff. The texts under consideration are Grebenstchikoff’s essays Altai Rus’, My Siberia, the fairy tale Khan-Altai in Russian and in English. The paper aims at revealing the relationship between the narrator and the locus of the texts in terms of the category of gender. Imagological characteristics of the image of Altai gender identity in Grebenstchikoff’s texts show the mixture of subjective, emotional, objective, philosophical and analytical narrative traditions in these texts about Altai. Gender identity of the image of Altai is connected to the traditional, patriarchal androcentric worldview, when the way of verbal expression is “controlled by the dominating group”, and the reality of the less influential groups is not represented. The masculine nature of Altai, the Mountain Spirit, is shown in the Altai folklore, which is connected to the embodiment of Altai in the images of White Burkhan and his friend Oyrot. Symbolically, this masculine embodiment of Altai exists in George Grebenstchikoff’s texts as the image of Khan-Altai, the reminiscence to the art and prosaic works of Grigory Choros-Gurkin. This masculine image of Khan-Altai is associated in Grebenstchikoff’s texts with the motifs of running water (a river, a spring) and a song glorifying Altai (a hymn of eternal life). Both the masculine KhanAltai himself as well as Khan-Oirot, the male embodiment of the river (Chulyshmanbogatyr), the shepherd, and the shaman Bakhsa are endowed with a voice, can sing and, thus, participate in the communication with the gods and forces of nature. In selftranslations (My Siberia, Khan-Altai) Grebenstchikoff uses the standard pronoun it while referring to Altai. In the patriarchal, androcentric worldview the masculine image of Khan-Altai is represented with the traditional cognitive metaphors as A MAN IS A WARRIOR, A MAN IS A CREATOR and A MAN IS A SINGER. The narrator in Grebenstchikoff’s texts describes the internal space of Altai semiosphere. Opposite to the “chaos”, strange and dangerous space, this “fairy tale”, “mysterious” semiosphere is separated from the outer world by the line of the Altai Mountains. In his publicistic texts, Grebenstchikoff’s narrator is expressly objective, transferring the folklore metaphor ALTAI – BOGATYR, firstly, with the help of represented speech, and then, with by direct citing from the Altai epic. In the fairy tale Khan-Altai, the narrator is extremely emotional and subjective: he speaks directly to Altai-Bogatyr [Giant Altai], which is related to gaining insight into the spiritual vertical as well as the narrator’s ascending to the female embodiment of Altai – its highest peak, Belukha. The reference to Belukha, the queen of Altai, is made in Grebenstchikoff’s texts with the help of the pronoun ona / Ona [she / She]. The same strategy is used in the self-translations into English: the author uses the pronoun she / She contrary to the rules of the English grammar. Masculine embodiment of Altai, Khan-Altai, is the reminiscent image in Grebenstchikoff’s texts. But the real embodiment of Altai is a strong archaic symbol of the Altai queen, “the queen of Asian mountains”, the Belukha, which creates the spiritual stairs of the world for the narrator and his follow-travelers. The writer follows there the traditions of Russian Romantic montanistics, reconsidered in the context of modernism. The masculine embodiment of the Altai image, Khan-Altai, turns out to be a “reminiscence image” in the reviewed Grebenstchikoff’s journalistic and literary texts. The true embodiment of Altai is the powerful archaic image-symbol of the queen of Altai, the “queen of the Asian mountains” Belukha, who creates for the narrator and his companions the “spiritual vertical” of the world.
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Shaposhnikova, V. V. "Pushkin’s The Captain’s Daughter [ Kapitanskaya dochka ]: Why is the fort called Belogorskaya?" Voprosy literatury 1, no. 1 (February 20, 2020): 22–36. http://dx.doi.org/10.31425/0042-8795-2020-1-22-36.
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The article is concerned with the origin and symbolism of the name of the Belogorskaya fort in Pushkin’s The Captain’s Daughter [ Kapitanskaya dochka ]. It is a fictional name, although the story also mentions the real forts in the Orenburg Governorate. The name pattern may have come from the fort Krasnogorskaya ( The Pugachev History [ Istoriya Pugacheva ]), but other toponyms seem important too: Svyatogorskiy [ of/on a holy mountain ] monastery, Trigorskoye estate [ of/near three mountains ]. Pushkin may have also been inspired by the Ural’s limestone cliffs, but more significantly, by his long-term contemplation of ‘the white on the mountain’ (I. Surat) and a white mountain as an image of a moral ideal. Both roots in the name Belogorskaya play an important role. The first one [ bel- (white) ] reflects the sacred symbolism of the white color. The second root ( gor(a) [ mountain ]) is a play on the fort’s elevated location, which, in turn, corresponds to the significance of a mountain in Christian mythology. The name of the fortress, therefore, is evocative of the noble spirit of its defenders, as well as the enduring nature of family ties.
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Carl Abbott. "Rocky Mountain Refuge: Constructing “Colorado” in Science Fiction." Science Fiction Studies 39, no. 2 (2012): 221. http://dx.doi.org/10.5621/sciefictstud.39.2.0221.
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Porter, Deborah. "The Literary Function of K'un-lun Mountain in theMu T'ien-tzu chuan." Early China 18 (1993): 73–106. http://dx.doi.org/10.1017/s0362502800001498.
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In this article I question the assumption that all place-names in theMu T'ien-tzu chuanrefer to real places. I suggest instead a mythic origin for many of these seemingly referential elements. By analyzing a complex of myths either referred to or alluded to in the text, I show that several crucial place-names come in fact from cosmological referents rather than geographical ones. TheMu T'ien-tzu chuancannot then be read purely as a historical account. I extend this argument by revealing how the elements of cosmological myth in the narrative must themselves be read as elements of symbolic discourse; that is, they have to be read within an astronomical context as references to celestial phenomena. By reading the cosmological and astronomical discourses of the myths together, I demonstrate the literary significance of theMu T'ien-tzu chuan,a significance which to date has been obscured by misreadings of its historicity. Finally, I argue that only by reading theMu T'ien-tzu chuanas a literary fiction can one understand what it tells us about how notions of political legitimacy were constructed and then altered in the representation of King Mu's (fictional) journey. The narrative is thus revealed to be a wholly symbolic tale whose interpretation has implications for the wider realm of the interconnections among history, literature and culture.
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Derkachova, Olga, and Solomia Ushnevych. "The Trickster in Appalachian and Hutsulian Tales." Journal of Vasyl Stefanyk Precarpathian National University 1, no. 2-3 (December 22, 2014): 45–49. http://dx.doi.org/10.15330/jpnu.1.2-3.45-49.
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The fairytales of Hutsuls and Appalachians are analyzed in the article. Mountainousdwellers have an indissoluble connection with the nature and metaphysics of mountains that iswhy there are so many sacred objects and special places there. Megaliths and sanctuaries, lifegiving places, miraculous springs, natural metaphysics of the mountains and tales which aregrasped like true stories about creation and objective reality of the world, - all these attract not onlytourists but also scientists and researchers to the mountainous region. The tale is one of thepermanent attributes of people`s life. It gives the opportunity to make the process of emotional andmoral development more controlled and determined. The common feature of the tale is identified:it is the presence of a hero-trickster - Jack (the Appalachians) and Ivan (the Carpathians). In tales,most of the fictional characters can be described by the term “duality”. It is a certain state ofconsciousness when the hero-character reproduces his double that lives an imaginary life andperforms an intended role. It is a hero who is often hidden behind the mask of a jester and a foolishman. He does not live according to the rules. He breaks both laws and rules, but achieves positiveresults. The common and different features of the Trickster in the fairytales of Indians and Hutsulsare defined.
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Mok, Olivia. "Strategies of Translating Martial Arts Fiction." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 1 (December 31, 2001): 1–9. http://dx.doi.org/10.1075/babel.47.1.02mok.
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The strategies of translating Fox Volant of the Snowy Mountain, a martial arts novel by Jin Yong, into English are determined mainly by the skopos of bringing Jin Yong’s work to life for a Western audience, shaped also by the translator’s ideology and the poetics dominant in the receiving culture. It follows that the functions associated with translating this literary text, a major genre in contemporary Chinese literature, would include introducing martial arts fiction as a literary genre; introducing Jin Yong as a master storyteller; and presenting genre-specific devices employed in penning a classic work. An overriding strategy adopted by the translator proved to be extensive rewriting into the target language as the translated work only materialized after serious efforts at recreative translating. The fluent translation strategy, when aptly used, is the one that effects transparency, thereby evoking authorial presence in a literary translation.
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Stępień, Tomasz. "Between relation and creation – about Chinese Maharaja by Wojtek Kurtyka." Świat i Słowo 35, no. 2 (November 26, 2020): 281–99. http://dx.doi.org/10.5604/01.3001.0014.5478.
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The article is an analysis of a text by a well-known Polish mountaineer in the context of „mountain” literature (mountaineering, climbing). It is a specific subcultural literature that sits between non-fiction and autobiographical literature, written by mountaineers for mountaineers and lovers of this specific sport. The text points to the uniqueness of Chinese maharaja within the ranks of typical mountaineering literature (creative narrative, specific worldview, broad audience).
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Horetska, Olha. "Problems of Education of Mountain Children in Olena Tsehelska’s Literary Works." Journal of Vasyl Stefanyk Precarpathian National University 1, no. 2-3 (December 22, 2014): 69–74. http://dx.doi.org/10.15330/jpnu.1.2-3.69-74.
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The article analyzes the literary works of a teacher, children’s writer, public figure ofWestern Ukraine – Olena Tsehelska. It aims to study the system of national-patriotic, moral,religious, labor upbringing of mountain children at the end of XIX – the first third of the XXcenturies. It was at this time when revived searches for a new curriculum, new methods and formsof education, laying the foundations of the national-patriotic, civic education of Ukrainian youth.The author stresses that one of the important factors of national education of youth has alwaysbeen fiction, particularly national bulleted text, which are literary works written by OelenaTsehelska. In fairy tales, short stories, novels the writer finds out about these family values thathave traditionally been famous for residents of mountainous terrain, as a community of spiritualinterests, harmony of relationships between representatives of different generations, caring forparents and elderly people in the family, respect for ancestors, family harmony, respect for folktraditions, faith in God that helped to survive in difficult circumstances of war periods, forcedrelocation to a foreign country. Little heroes from works of Oelena Tsehelska possess such traits ascivic consciousness, patriotism, devotion to the interests of the people, the capacity for selfsacrifice, compassion for the poor, love of neighbor. Works written be this writer is an importantfactor in the preservation of folk traditions, enriching current young generation with them whatbecomes important in the development of civil society in Ukraine .
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Guillain, Aurélie. "Museums for the Nation: the Mountain and the Text in Willa Cather’s Fiction." Caliban, no. 23 (May 1, 2008): 299–306. http://dx.doi.org/10.4000/caliban.1364.
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Lewis, Pericles. "The Burial of the Dead in Mann’s The Magic Mountain." Renascence 73, no. 1 (2021): 43–56. http://dx.doi.org/10.5840/renascence20217314.
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During the COVID-19 pandemic of 2020, readers of modernist literature have often been reminded of the flu epidemic of 1918-1920. Thomas Mann’s The Magic Mountain (1924) anatomizes pre-war bourgeois society as represented by the inmates of a tuberculosis asylum in Davos, Switzerland. The novel typifies a concern in modernist fiction with the proper rites for the burial of the dead, which I explored in an earlier study, Religious Experience and the Modernist Novel. This essay argues that that Mann sees the novel, as a genre, as having a particular ability to represent the process of mourning because of its powers of ironic distancing: it can represent both the public ritual of the funeral service and the private thoughts of the mourner, which may or may not accord with official sentiment. More generally, the modern novel shows how we project our own desires and fears onto the dead.
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Stakhiv, Maria. "Developing Communicative Competence of Future Teachers on the Basis of Ethnic and Cultural Values Intrinsic to Highlanders of the Ukrainian Carpathians." Journal of Vasyl Stefanyk Precarpathian National University 1, no. 2-3 (December 22, 2014): 240–44. http://dx.doi.org/10.15330/jpnu.1.2-3.240-244.
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The article presents challenges and methods of teacher training activities aimed todevelop communicative competence and prepare teachers for work in mountain area schools in theUkrainian Carpathians. Research shows that specifics of social and cultural environment should betaken into account in the process of teaching native language and developing communicativecompetence of future teachers. Sociocultural approach defines language teaching strategies in thelight of national culture, traditions of ethnic regions and the Ukrainian Carpathians in particular.Teacher training programs should include studies on material, cultural and spiritual values ofhighlanders. Such topics can be incorporated in the main native language course. Study andanalysis of fiction pieces, especially those that reflect the socio-cultural peculiarities of linguisticcommunity of the Ukrainian Carpathians can be of great value in achieving the goal. Small classesin mountain schools also place a demand upon educators to constantly upgrade approaches, formsand methods of teaching.The article offers an integral teacher training system aimed at developing communicativecompetence and preparing teachers to work in the mountain areas schools. A special place in thissystem is given to folk pedagogy, which accumulates the national and regional spiritual values.The author presents the components of communicative and socio-cultural competence of futureteachers. The suggested algorithm for training primary school teachers insures reaching anappropriate level of socio-cultural, historical, linguistic and communicative competenciesnecessary for language teaching at primary schools in mountain regions of the UkrainianCarpathians.
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Wilbourn, Miller. "Baptism by History." James Baldwin Review 6, no. 1 (September 29, 2020): 122–39. http://dx.doi.org/10.7227/jbr.6.8.
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This essay reads James Baldwin’s first novel, Go Tell It on the Mountain, through the lenses of European existentialism and Black existential thought to arrive at a new understanding of the novel itself as well as essential stages of its development. Archival sources and close reading reveal Baldwin’s historically and existentially informed artistic vision, summed up in the terms hindsight and insight. His thoughtful, uncomfortable engagement with the past leads to a recuperated relationship to the community and constitutes existential hindsight, which informs his inward understanding of himself—his insight. This investigation draws on various works from Baldwin’s fiction, essays, interviews, and correspondence to arrive at a better understanding of the writer’s intellectual and artistic development, focusing especially on the professed objectives behind, and major revisions of, the novel. I conclude the essay through a close reading of the conversion scene that constitutes Part Three of Go Tell It on the Mountain.
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Zavertaluk, Ninel. "Terra incognita: Ukrainian adventure prose of the first third of the 20th century. Review of the Monograph by Lyudmila Kulakevych «Genre Strategies of Ukrainian Adventure Prose of the First Third of the 20th Century» (Dnipro, 2020)." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 99–102. http://dx.doi.org/10.34079/2226-3055-2020-13-22-99-102.
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The paper reviews the monograph by L. Kulakevych, states the relevance of studies in the field of Ukrainian adventure literature of the first third of the 20th century. The review emphasizes that the monograph is devoted to a virtually unknown but powerful layer of Ukrainian adventure literature of the first third of the twentieth century. Some of the works studied in the monograph are only mentioned in the general reviews of the writers’ literary legacies while the other works remained unknown for the literary critics for almost a century. For instance, such works as «Opovidannia pro Sofochku y Dzhyma» (The Story of Sofochka and Jim) by D. Buzko, «Zaradynei» («For Her Sake») by I. Dniprovskyi, «Vurkahan» («Criminal») by Y. Miakota, «Viter z hir» («Wind from the Mountains») by S. Skliarenko, and «KniazBartsila» (Prince Bartsila) by O. Slisarenko. The importance of the monograph lies in the study of the works against the background of global cultural processes. The first section «The Nature of Genre in Adventure Literature: The Theoretical Aspect» pays special attention to the introduction of the contemporary Ukrainian literary processes into the global trends. In particular, it highlights the increased interest in adventure works, which, according to the literary critics of different countries, remained unnoticed due to colonial and gender discourses, demonstrating, to put it mildly, the «unattractive» side of European cultural expansion. This section also contains a detailed analysis of the existing definitions of «adventure» literature, the author of the monograph works on the disambiguation of the terms concerning «adventure» and providesmore clear and precise definitions. In the second chapter, L. Kulakevych analyzes the novels which, according to her, are the examples of the new genres in Ukrainian literature: frontier, western / eastern, robinsonade, roxolania. In the third section, the author studies the texts-representatives of the printed series, travelogue, and action genres. While analyzing the texts, L. Kulakevich points out the artistic components that serve as markers to attribute the texts to a certain genre. The fourth chapter is dedicated to the innovative quest of Ukrainian writers of the 20-30s of the 20th century, in particular, the development of the new genres in Ukrainian adventure discourse – noir novel, horror, detective, spy narrative, novel-quest. While substantiating the affiliation of the work to a particular genre, the researcher uses the theses of modern foreign experts in the field of literature and cinema to support her ideas. In the fifth chapter, L. Kulakevich investigates the texts, whichcontributedto the Ukrainian fiction with the new genres of chrono-travel, thriller, and alternative history. It is evident, that in the research of L. Kulakevych the Ukrainian adventure literature of the first third of the 20th century appears as an extraordinary and multidimensional phenomenon that synthesized the achievements of world culture and innovations of Ukrainian writers. In general, the monograph is highly praised for up to date factual basis, original approach to the analysis of literary works, and informative presentation.
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Evans, K. Durwood. "Animism as an Approach to Arda." International Journal of Applied Linguistics and English Literature 8, no. 4 (July 31, 2019): 116. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.4p.116.
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Here we examine qualities of what would be thought of as inanimate beings that lend evidence to the position that J.R.R. Tolkien’s fictional universe1 is animistic. Arda is full of life, and natural things in it, such as mountains and rivers, are often alive or conscious. A close look at the qualities of the stars in particular yields further evidence in favor of animism as a foundational ontology of Arda.
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Chernousova, Anna O. "New trends in collocability based on the English collocations in fiction." Socialʹnye i gumanitarnye znania 6, no. 1 (March 15, 2020): 100. http://dx.doi.org/10.18255/2412-6519-2020-1-100-106.
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The language of fiction is probably not the most dynamically but still changing. These new trends in collacability are of a great interest to us. The definition of collocation is present in the text; the authors also distinguish the concepts of collocation and lexical function. This article will discuss the trends considered in synchrony and diachrony, which were highlighted on the material of John Grisham “Gray Mountain”, which is relatively new English-language material (2014), and a bit dated J. D. Salinger “Nine Stories” (1953 ) to track trends and their development in the language. 150 examples were reviewed and analyzed. 5 trends were highlighted on a given case. The authors use dictionaries, linguistic search on the Internet, the COCA (Grisham and Salinger are both from the USA). The authors conclude that the trends that have been considered are the most frequent for the language of fiction and deserve the attention of the researchers due to their productivity. The reasons why stable word combinations change: the emergence of new realities and the need for a new nomination and (which is more typical for the prose) the search for the new forms of self-expression of the writers.
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von Mossner, Alexa Weik. "Why We Care about (Non) fictional Places." Poetics Today 40, no. 3 (September 1, 2019): 559–77. http://dx.doi.org/10.1215/03335372-7558150.
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Cognitive ecocriticism draws on research in neuroscience and cognitive narratology to explore how literary reading can lead us to care about natural environments. Ann Pancake’s novel Strange as This Weather Has Been (2007) serves as an example of a novel that cues both direct and empathetic emotions for an actual environment—the Appalachian Mountains—that is wounded and scarred. I argue that the novel’s protagonists allow readers to imaginatively experience what it is like to love an environment and then witness its destruction by mountaintop removal mining. Pancake’s decision to relate large parts of the story through the consciousness of teenagers allows for highly emotional perspectives that have the potential to engage readers in the social and moral issues around resource extraction.
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Hinterkörner, Maria. "‘The Great Scene That Never Happened’ – A Screenwriter’s Techniques of Blending Fact and Fiction in Creating a Compelling Character Arc in Biopics." European Journal of Life Writing 10 (September 8, 2021): WLSCC1—WLSCC32. http://dx.doi.org/10.21827/ejlw.10.37921.
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The biopic as a genre treads a thin line between fact and fiction. Using the theory and methods of visual storytelling and screenwriting, I will lay open the thought process and the tools of the craft that are employed to create a character arc using historical facts and figures for a movie that will resonate with a modern audience. I will also show how I tried to incorporate the producers’ expectations regarding the subject matter. I illustrate my process and techniques using my most recent screenplay Ushba, which narrates the unsuccessful climb of the eponymous Georgian mountain by a group of Austrian mountaineers, among them a young woman called Cenzi von Ficker.
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Grošelj, Nada. "Poblisk v religiološko misel Hjalmarja Söderberga." Stati inu obstati, revija za vprašanja protestantizma 16, no. 32 (December 20, 2020): 357–67. http://dx.doi.org/10.26493/2590-9754.16(32)357-367.
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A Glimpse into the Religious Studies of Hjalmar Söderberg While the Swedish writer Hjalmar Söderberg (1869–1941) gained a worldwide reputation with his fiction, his later studies in the history of religion, with their discussions of daring reconstructions and interpretations of Biblical events, are more obscure. Of his three monographs on religious history, the paper focuses on his début, The Fire of Yahweh (Jahves eld, 1918). The key thesis about the story of Moses as proposed by Markel, the protagonist, claims that the supernatural events in the Book of Exodus which took place on and at the foot of the mountain, and were witnessed by the Israelite crowd from a distance, were in fact an elaborate and spectacular form of pre-Jewish worship in the area. According to Markel, the fire, smoke and thunder accompanying God’s appearances in the Bible were simply a spectacle for the crowd, and these ‘special effects’ might well have been produced by Moses and his successors through gunpowder. The final part of the paper outlines Söderberg’s immersion in his time and in the spiritual and intellectual shifts of the period, as well as his attitude to religion as demonstrated in some examples of his fiction. Keywords: history of religion, Swedish literature, Moses, Bible interpretation, early 20th century thought
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Kongerslev, Marianne, and Clara Juncker. "Appalachia as Trumpland: Honor, Precarity, and Affect in Literature from the Mountain South." Polish Journal for American Studies, no. 13 (Autumn 2019) (October 15, 2019): 179–91. http://dx.doi.org/10.7311/pjas.13/2/2019.02.
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Literary and cultural texts by southern poor whites in the hills of the Ozarks and Appalachia and southern migrants in Rustbelt Ohio explode with feelings such as hatred, desperation, and anger, resulting from the continual precaritization and marginalization of the mountain communities. In (auto)biographical texts as well as in literary fiction, the ?hillbilly? community is represented as self-segregated, proud, and independent, with special notions of honor and loyalty. Exploring the (dis)connections between the literary emotions of the people of the Mountain South and the code of southern honor that has produced and sustained them, this article argues that the anxious and angry emotions that Donald Trump taps into as a political strategy are not new, but rather have been building throughout the 20th and into the 21st centuries. The first manifestations that this precarious affective structure was forming can be seen in this regional literature, illustrating the potential in explorations of literary ugly feelings (Ngai, 2005) of marginalized southerners. Thus, the article uncovers how poor whites position their precarious existences in Trump?s USA and how they employ various affective strategies to articulate their whiteness and their anxiety.
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Pozina, M. V. "Children’s books on grown-up themes. On J. Boyne’s novels The Boy in the Striped Pyjamas and The Boy at the Top of the Mountain." Voprosy literatury, no. 4 (August 19, 2021): 110–17. http://dx.doi.org/10.31425/0042-8795-2021-4-110-117.
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The essay is concerned with the work of the Irish writer John Boyne, who received international renown upon publication of his two young adult novels: The Boy in the Striped Pyjamas and The Boy at the Top of the Mountain. The two books are connected by the same topic — a child and the war — as well as an unconventional view of the fate of the small protagonist who becomes entangled in the big history. Among the characters of Boyne’s novels are children of high-ranking Nazis, prisoners of concentration camps, people inhabiting pre-war Europe, and even the Führer (Hitler) himself. The essay not only comments on the plots of the two novels, which follow the lives of Boyne’s young protagonists, but also suggests that everyone, including children, is responsible for their moral choice: whereas Bruno, the hero of The Boy in the Striped Pyjamas, remains pure in heart, his counterpart Peter (Pierrot) from The Boy at the Top of the Mountain becomes infected with Nazi ideology. In addition, the essay discusses certain facts of the writer’s biography, mentioning, in particular, that he turned to young adult fiction after a successful career in ‘grown-up’ literature.
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Dwivedi, Ashish. ""The Daughters of Patriarchy: Tracing Disparities in the Representation of Women in Indian Fiction in English"." SMART MOVES JOURNAL IJELLH 6, no. 7 (July 31, 2018): 6. http://dx.doi.org/10.24113/ijellh.v6i7.4498.
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Patriarchy, as an ideology, assumes multiple manifestations in narratives, diminishing not only the might that lies hidden beneath the cracked echoes of feminism, but also the very elixir that keeps womanhood alive. It is here that the present paper, entitled "The Daughters of Patriarchy: Tracing Disparities in the Representation of Women in Indian Fiction in English" attempts to transpire the disparities that appear at the forefront in an artist's representation of its women, depending on the degree of his/her representation of patriarchy, as the title of the paper tends to accentuate. The paper would cogitate over the ill-effects of a phallo-centric ideology on the psyche of the concocted 'other', the daughters of patriarchy, through a cursory consideration of two novels, The God of Small Things (originally published in 1997) and Fire on the Mountain (originally published in 1977).
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Graber, Samuel. "Memory and Myth: The Civil War in Fiction and Film from Uncle Tom's Cabin to Cold Mountain." Annals of Iowa 68, no. 2 (April 2009): 180–82. http://dx.doi.org/10.17077/0003-4827.1327.
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Payne, Christopher N. "In/Visible Peoples, In/Visible Lands: Overlapping Histories in Wang Chia-hsiang’s Historical Fantasy." International Journal of Taiwan Studies 2, no. 1 (January 20, 2019): 3–31. http://dx.doi.org/10.1163/24688800-00201002.
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This essay considers two narrative texts by the nature essayist and fiction writer Wang Chia-hsiang (Wang Jiaxiang); namely, the short story ‘On Lamatasinsin and Dahu Ali’ (1995), and the short novel Mystery of the Little People (1996). Structured around ethnographic journeys into the Taiwanese mountainous hinterland, the texts concern the main protagonists, two earnest (Han) Taiwanese ethnographers, who narrate stories that traverse the island’s histories, lands, and written remnants. The paper argues that the two stories purposefully overlap multiple historical, colonial, and environmental encounters and temporal moments as a means to fictionalise the past as inherently heterarchical. The tales thus fabulise new literary spaces in which the Taiwanese relationship to yesteryear—the peoples, the lands—can be cognised alternatively.
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Berger, Marc Moritz, Franziska Macholz, Heimo Mairbäurl, and Peter Bärtsch. "Remote ischemic preconditioning for prevention of high-altitude diseases: fact or fiction?" Journal of Applied Physiology 119, no. 10 (November 15, 2015): 1143–51. http://dx.doi.org/10.1152/japplphysiol.00156.2015.
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Preconditioning refers to exposure to brief episodes of potentially adverse stimuli and protects against injury during subsequent exposures. This was first described in the heart, where episodes of ischemia/reperfusion render the myocardium resistant to subsequent ischemic injury, which is likely caused by reactive oxygen species (ROS) and proinflammatory processes. Protection of the heart was also found when preconditioning was performed in an organ different from the target, which is called remote ischemic preconditioning (RIPC). The mechanisms causing protection seem to include stimulation of nitric oxide (NO) synthase, increase in antioxidant enzymes, and downregulation of proinflammatory cytokines. These pathways are also thought to play a role in high-altitude diseases: high-altitude pulmonary edema (HAPE) is associated with decreased bioavailability of NO and increased generation of ROS, whereas mechanisms causing acute mountain sickness (AMS) and high-altitude cerebral edema (HACE) seem to involve cytotoxic effects by ROS and inflammation. Based on these apparent similarities between ischemic damage and AMS, HACE, and HAPE, it is reasonable to assume that RIPC might be protective and improve altitude tolerance. In studies addressing high-altitude/hypoxia tolerance, RIPC has been shown to decrease pulmonary arterial systolic pressure in normobaric hypoxia (13% O2) and at high altitude (4,342 m). Our own results indicate that RIPC transiently decreases the severity of AMS at 12% O2. Thus preliminary studies show some benefit, but clearly, further experiments to establish the efficacy and potential mechanism of RIPC are needed.
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Nelson, Victoria. "Children of the Light: Gnostic Fiction and Gnostic Practice in Vladimir Sorokin’s Ice Trilogy." Gnosis 1, no. 1-2 (July 11, 2016): 259–75. http://dx.doi.org/10.1163/2451859x-12340014.
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This paper offers a close reading of the contemporary Russian writer Vladimir Sorokin’s Ice trilogy and explores its deep roots in early gnostic spiritual movements of late antiquity, Russian esoteric philosophy and literature, and Western popular culture. Reflecting sources as varied as the Apocryphon of John, the Disney movie Escape to Witch Mountain, Russian New Age paganism, and esoteric Soviet science, these three interconnected novellas are based on the real-life “Tunguska event,” the great fireball that appeared over the Tunguska region of Siberia in 1908, flattening more than 800 square miles of forest. Famous in ufo circles as the “Russian Roswell” and long a magnet for esoteric speculation, in Sorokin’s hands this probable meteor strike becomes the springboard for a contemporary gnostic fantasy in which a giant chunk of ice carries the spirits of 23,000 gnostic demiurges to earth, where they inhabit human bodies that they despise and seek only to reunite and return to their source. More than a simple postmodern parable of the seventy-year Soviet regime and post-Soviet societal excesses, Sorokin’s damning portrait of his “children of the Light” illuminates the deeper and darker currents of human nature, ethics, and spirituality.
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Blitz, Marc. "The Right to an Artificial Reality? Freedom of Thought and the Fiction of Philip K. Dick." Michigan Technology Law Review, no. 27.2 (2021): 377. http://dx.doi.org/10.36645/mtlr.27.2.right.
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n Anarchy, State, and Utopia, the philosopher Robert Nozick describes what he calls an “Experience Machine.” In essence, it produces a form of virtual reality (VR). People can use it to immerse themselves in a custom-designed dream: They have the experience of climbing a mountain, reading a book, or conversing with a friend when they are actually lying isolated in a tank with electrodes feeding perceptions into their brain. Nozick describes the Experience Machine as part of a philosophical thought experiment—one designed to show that a valuable life consists of more than mental states, like those we receive in this machine. As Nozick says, “we want to do certain things, and not just have the experience of doing them.” An 80-year sequence of experiences generated by the machine would not be of equivalent value to the lifetime of the identical set of experiences we derive from interactions with real people (who are not illusions, but have minds of their own), and with a physical universe that lies outside of us. On the contrary, says Nozick, a solipsistic life in the Experience Machine is a deeply impoverished one.
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Mrozewicz, Anna Estera. "The Landscapes of Eco-Noir." Nordicom Review 41, s1 (September 10, 2020): 85–105. http://dx.doi.org/10.2478/nor-2020-0018.
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AbstractThis article examines the Norwegian climate fiction television series Okkupert [Occupied] (2015–), focusing on the ways in which it reveals the complicity of Nordic subjects in an ecological dystopia. I argue that in illuminating this complicity, the series reimagines the Norwegian national self-conception rooted in a discourse of Norway's exceptionalist relation to nature. I show how Norway's green (self-)image is expressed through what I call “white ecology” – an aesthetics of whiteness encoded in neoromantic mountainous winter landscapes widely associated with the North, but also in the figure of the Norwegian white male polar explorer. I argue in this article that Occupied challenges this white-ecological masculine discourse through “dark ecology” (Morton, 2007), embodied by Russia and expressed by the avoidance of spectacular landscape aesthetics as well as by the strategy of “enmeshment”, facilitated by the medium of televisual long-form storytelling and the eco-noir aesthetics.
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Peralta Labrador, Eduardo José, Jorge Camino Mayor, and Jesús Francisco Torres-Martínez. "Recent research on the Cantabrian Wars: the archaeological reconstruction of a mountain war." Journal of Roman Archaeology 32 (2019): 421–38. http://dx.doi.org/10.1017/s1047759419000217.
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Over the centuries, Spanish historiography has attached great importance to the wars that Octavian launched at the start of the last third of the 1st c. B.C. against the population in the north of the Iberian peninsula. In this way he intended to bring an end to the long conquest of Iberia that had begun two centuries earlier in the hegemonic struggle with Carthage. Although the wars previously attracted the attention of European scholars, today they play little part in the historiography of the Early Roman Empire and even less in the biographies of Augustus, who suffered some of his worst military fortunes in this war, putting his very life in danger (Suet., Aug. 29.3 and 81.1; Hor., Carm. 3.14; Dio 53.25.5-7; Oros. 6.21.4). Even Departments of Ancient History in Spanish universities have failed to progress beyond well-worn exegesis of the written sources. This is because until just two decades ago all the information came from two historical sources: Florus and Orosius, on the one hand, and Dio Cassius, on the other (the relevant books of Livy being lost). Although they stress the importance of the conflict, these sources are excessively laconic; they have also been subjected to erudite speculations about place-names that have turned the military campaigns into a series of historiographic fictions.1
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Nabieva, Vusala F. "Peculiarity of Historical Themes in Azerbaijan and English Literature in the Second Half of the 20th Century (on the Example of the Works by Aziza Jafarzade and Mary Stewart)." Alfred Nobel University Journal of Philology 1, no. 21 (2021): 19–28. http://dx.doi.org/10.32342/2523-4463-2021-1-21-2.
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The main purpose of this article is to consider the conceptual approach of the patriotic attitude to the historical roots and individuality of nations in works of fiction on historical themes by outstanding writers who lived in different countries in the same century. In their works, Mary Stewart and Aziza Jafarzade wrote about the historical environment, human relations, religion, the struggle for their beliefs, and other issues. One thing that unites writers is that their appeals to historical works coincide with their age of wisdom. Writers created their works, feeling the spirit of the historical realities of their countries, and skillfully used the artistic imagination to depict events of the long past. This article mainly compared Mary Steward�s �Arthur pentalogy� and Aziza Jafarzade�s �Baku-1501� historical novel and �Hun Mountain� story. The real historical person living in the 16th century AD. Shah Ismail Khatai is the protagonist of �Baku-1501� written by Aziza Jafarzade. Shah Ismail�s name is connected with the flourishing of the Azerbaijani language as both poetry and a diplomatic language. He has a special place in our history and his name is written with golden letters in the history of Azerbaijan. Of course, the appeal to this period is a manifestation of love for Azerbaijan. The same motive is clearly seen in Mary Stewart�s �Arthur pentalogy�. The love for her country aroused interest in the historical subject. Thanks to the legendary king Arthur writer decodes the real identity of the nation. The heroes of these two novels struggle for their convictions and during their reign, they become masters of the ruling. Although the exact period is not indicated in the story about the Turkic-speaking tribe �Hun Mountain�, it is possible to define the era based on historical realities. The Huns� migration to Azerbaijan falls approximately to the 4th century AD. At the same time, Aziza Jafarzade makes special stresses in the story of �Hun Mountain� to our ancient Turkish words. The period of �Arthur pentalogy� is the 5-6th centuries AD. The parallels between Mary Stewart�s pentalogy and Aziza Jafarzade�s �Hun Mountain� are that they describe the far periods of our age and the main feature of that period is that the elements of legendary motifs are inevitable.
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Stosic, Dejan, Benjamin Fagard, Laure Sarda, and Camille Colin. "Does the road go up the mountain? Fictive motion between linguistic conventions and cognitive motivations." Cognitive Processing 16, S1 (August 4, 2015): 221–25. http://dx.doi.org/10.1007/s10339-015-0723-8.
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Snow, Don, Zhou Xiayun, and Shen Senyao. "A short history of written Wu, Part I." Global Chinese 4, no. 1 (March 26, 2018): 143–66. http://dx.doi.org/10.1515/glochi-2018-0007.
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AbstractIn two articles published in the 1920s, Hu Shi argued that China’s vernacular literature movement should encompass not only literature written in Mandarin but also other regional languages in China, and suggested that Wu, particularly Suzhounese, was the regional language most likely to achieve what he described as “independence” (独立) as a literary language. Beginning in the late Ming dynasty with Feng Menglong’s Mountain Songs collection, this study traces the literary journey of Suzhounese as used in various types of written texts such as Kun opera scripts,tancinovels, fiction, and Wu song texts into the early 20th century. This study argues that while written Suzhounese never achieved full independence as a literary language, and could now be said to have gone into decline, its more than 300-year history deserves more attention than it normally receives in histories of the Chinese literary tradition. This is not only because of the scale of its use and its degree of social influence, but also because the memory of this substantial literary tradition lives on and gives greater legitimacy to use of written Wu – particularly Shanghainese – in contemporary print culture in China.
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Phipps, Gregory. "Breaking into the Foam: Peter Sloterdijk's Philosophy of Dwelling and Richard Stark's Parker Novels." Crime Fiction Studies 2, no. 1 (March 2021): 48–62. http://dx.doi.org/10.3366/cfs.2021.0033.
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This article brings together the crime fiction novels of Richard Stark (a pseudonym of Donald Westlake) and the philosophical ideas of Peter Sloterdijk. Influential and yet critically neglected, Stark's ‘Parker novels’ feature an amoral and unchanging thief named Parker who infiltrates and exploits an array of settings for his criminal activities. Two of the main recurring situations in these novels involve Parker either breaking into and searching the home of a rival or using an empty home as a temporary hideaway. This article argues that Parker's approach to homes invokes elements in Sloterdijk's theorization of dwellings, including his broad theory that contemporary Western society is arranged in a manner reminiscent of bubbles in a ‘mountain of foam’, as well as his specific ideas about how contemporary dwellings function as spheres that aim for both individualistic privacy and access to mobile networks. The article draws upon these theories to explore how Stark's novel Flashfire represents Parker's attempts to establish a private sphere for his own use in Palm Beach, Florida, a process which ultimately exposes the limits of the ‘foam’ that composes his world of heists and brutal practicality.
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Disney, Dan. "‘Anything was possible’: (In)fidelities, (dis)connections and narcissistic (self-)love in Alice Munro’s ‘The Bear Came over the Mountain’." Short Fiction in Theory & Practice 9, no. 1 (April 1, 2019): 27–37. http://dx.doi.org/10.1386/fict.9.1.27_1.
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In one of Alice Munro’s longer works of short fiction, ‘The Bear Came over the Mountain’, readers are thrust into a narrative in which the protagonist, Grant, is forced to place his ageing and forgetful wife Fiona into a residential care facility. So amnesic is Fiona that, no longer remembering she has hitherto existed happily alongside Grant, she soon forms an intimate friendship with another resident, Aubrey. But Grant is no sympathetic protagonist and Munro reveals how, over the decades, he has habitually conducted a series of secretive extramarital affairs, often with the students he teaches at the local university. Reading a range of texts making taxonomical survey of love (including Plato’s Symposium, Barthes’ A Lover’s Discourse and Comte-Sponville’s A Short Treatise on the Great Virtues), this article surmises Grant to be dangerously non-empathetic, unwittingly self-parodying and unthinkingly transgressive; within phallogocentric orders, time and again the women surrounding this husband–teacher–lecher are shown to be merely instrumental to his gratifications. When Aubrey’s wife Marian arrives on the scene, Grant falls immediately into the role of fetishizing, perplexingly ordinary-seeming predator; in his flirtations, his actions can be read as methodically self-impoverishing. Beyond a stylized performance devoid of meaningful content, this is a narcissist with nothing to declare beyond a duplicitous and blind, dizzying, self-justifying internal chaos.