Academic literature on the topic 'Newford (imaginary place), fiction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Newford (imaginary place), fiction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Newford (imaginary place), fiction"
1
Glidden, David K. "The Elusiveness of Moral Recognition and the Imaginary Place of Fiction." Midwest Studies in Philosophy 16 (1991): 123–41. http://dx.doi.org/10.1111/j.1475-4975.1991.tb00234.x.
Full text
2
Machado, Álvaro Manuel. "Culto do lúdico, heteronímia e espírito do lugar em Mário Cláudio / Worship of the playful, heteronomy and spirit of the place in Mario Cláudio." Revista do Centro de Estudos Portugueses 38, no. 59 (November 1, 2018): 11. http://dx.doi.org/10.17851/2359-0076.38.59.11-21.
Full textAbstract:
Resumo: Análise do romance Tiago Veiga – uma biografia, a partir de uma reflexão sobre o imaginário do espaço portuense e minhoto, concentrada predominantemente na metáfora da casa. Palavras-chave: imaginário; ficção portuguesa contemporânea; Mário Cláudio.Abstract: Analysis of the novel Tiago Veiga – a biography, based on the consideration of the imaginary that the regions of Porto and Minho carry, focused mainly on the metaphor of the house.Keywords: Imaginary; Contemporary Portuguese Fiction; Mario Claudio.
3
Nilsson, Louise. "Mediating the North in Crime Fiction." Journal of World Literature 1, no. 4 (2016): 538–54. http://dx.doi.org/10.1163/24056480-00104007.
Full textAbstract:
The multifaceted idea of the north is deeply embedded in literary and visual culture. This culturally forged and globally disseminated idea embraces the narratives of fear, as well elements of the supernatural and fantastic, political dimensions or specific topographies. By departing from the Nordic Noir subgenre, a globally dispersed literary genre, this article investigates how the depiction of local and global place creates an imaginary, which is in turn bound up with a broader notion of the north as an ostensible “elsewhere.” The article argues that the Nordic Noir’s foreign allure and overwhelming success rests upon a culturally forged idea of the north, found worldwide in various cultural expressions such as myths, folklore, fairy tales, literature, and contemporary cinema and trails centuries back in cultural history worldwide.
4
James, Susan. "Responding Emotionally to Fiction: A Spinozist Approach." Royal Institute of Philosophy Supplement 85 (July 2019): 195–210. http://dx.doi.org/10.1017/s1358246118000759.
Full textAbstract:
AbstractWithin contemporary analytical philosophy there continues to be a lively debate about the emotions we feel for fictional characters. How, for example, can we feel sad about Anna Karenina, despite knowing that she doesn't exist? I propose that we can get a clearer view of this issue by turning to Spinoza, who urges us to take a different approach to feelings of this kind. The ability to keep our emotions in line with our beliefs, he argues, is a complex skill. Rather than asking why we depart from it in the case of fictions, we need to begin by considering how we get it in the first place. Spinoza also considers the value of this skill. In his account, fictions function rather like Donald Winnicott's transitional objects. They enable us to negotiate the boundary between the real and the imaginary in a way that contributes to our philosophical understanding. These Spinozist proposals, I contend, suggest that the questions dominating current debate need to be reformulated.
5
Zaid, Ali. "The Camouflage of the Sacred in the Short Fiction of Hemingway." American, British and Canadian Studies Journal 21, no. 1 (January 1, 2014): 61–78. http://dx.doi.org/10.2478/abcsj-2013-0020.
Full textAbstract:
Abstract This essay examines the short fiction of Ernest Hemingway in the light of Mircea Eliade’s notion of the camouflage of the sacred and the larval survival of original spiritual meaning. A subterranean love pulsates beneath the terse dialogue of Hemingway’s characters whose inner life we glimpse only obliquely. In the short play (“Today Is Friday”) and four short stories (“The Killers,” “A Clean Well-Lighted Place,” “Old Man at the Bridge,” and “The Light of the World,” discussed here, light imagery, biblical allusions, and the figure of Christ, reveal a hidden imaginary universe. This sacral dimension has been largely overlooked by critics who dwell on the ostensible spiritual absence that characterizes Hemingway’s fiction.
6
Jackson, Andrew J. H. "Conceptualising place in historical fact and creative fiction: rural communities and regional landscapes in Bernard Samuel Gilbert’s ‘Old England’ (c. 1910–1920)." Rural History 31, no. 2 (October 2020): 195–209. http://dx.doi.org/10.1017/s0956793319000359.
Full textAbstract:
Abstract The theme of place guides much exploration in rural history and local history. Attempts have been made to create definitions and typologies of place, but these have had to contend with the diverse, complex and dynamic realities of historical pattern and process, local and regional. Nonetheless, historians and those in other disciplines have evolved different approaches to the concept. This study considers how these can inform the investigation of places existing in historical fact in particular periods in the past, and can do similarly for those places located contemporaneously in fictional constructions. Reference is made to various academic writings on place, including by the local historian, David Dymond. The analysis takes the work of the author of fiction, Bernard Samuel Gilbert. Gilbert, although relatively obscure now, incorporated a feature of special note into his later literary output, and one meriting greater attention. This was his personalised, reflective and explicitly articulated approach to forming and expressing place. Moreover, Gilbert’s ‘Old England’, with its imaginary district of 'Bly', can be recognised as corresponding to landscapes and communities existing more broadly in the years up to and through the First World War, and with creations by other authors of regional fiction.
7
Krishnan, Madhu. "When is biography fiction? Life writing, epistemophilia, and the limits of genre in contemporary Kenyan writing." Journal of Commonwealth Literature 55, no. 3 (November 2, 2018): 361–75. http://dx.doi.org/10.1177/0021989418808836.
Full textAbstract:
In On the Postcolony, Achille Mbembe opens with the assertion that “[s]peaking rationally about Africa is not something that has ever come naturally”. In this article, I use Mbembe’s remarks as my starting point, using his observations around the place — or lack thereof — of “Africa” within a larger philosophical matrix predicated on Enlightenment-derived notions of knowledge, and applying it to three examples of auto/biographical life writing recently published by Kenyan authors: Billy Kahora’s The True Story of David Munyakei; Kwani Trust’s fifth issue of its flagship Kwani? journal, published under the auspices of the Concerned Kenyan Writers group; and Binyavanga Wainaina’s viral 2014 blog post, “I Am a Homosexual, Mum”, fashioned as a “lost chapter” from his 2011 memoir, One Day I Will Write About This Place. Through their manipulation of the forms and conventions of biographical writing and biofiction, I argue, these three texts challenge the precepts of reason and rationality which have accompanied the reception of African (here, Kenyan) writing within the field of the global literary marketplace, with significant implications for the larger place of the African continent within a global imaginary.
8
Blatešić, Aleksandra. "Imaginary protagonists in idiomatic expressions of the contemporary Italian language." Kultura, no. 168 (2020): 112–32. http://dx.doi.org/10.5937/kultura2068112b.
Full textAbstract:
The aim of this paper is to present imaginary personalities from oral and written literature who have found their place in Italian fixed expressions due to their character, specific circumstances, events or the things they have done or said. Most of the analysed characters in this paper are fictional, while some are associated with the most diverse stories and legends, mostly of unclear origin. If the analysed characters have been taken from a literary work, their creator is an individual and therefore a known subject. The creator of these characters can also be a collective author, and therefore an unknown subject. The characteristics of the protagonists in folk fiction and folklore have been created for a long time and they have been constantly attributed new meanings and language varieties. Although the subject of research in this paper are phrases of the contemporary Italian language, when it comes to these language forms, we cannot talk about contemporaneity in a narrower sense. Namely, due to their stability, these expressions represent a kind of antiquity, passed down from generation to generation through time and space. We will consider as contemporary those idioms which are recognizable in form and meaning in the language and speech of the XX and XXI century, and we will extract them from general and phraseological dictionaries and collections.
9
Sevilla-Vallejo, Santiago. "Amusing Ourselves until (Dis)appearing in La invención de Morel by Adolfo Bioy Casares." Journal of Critical Studies in Language and Literature 1, no. 4 (November 7, 2020): 72–78. http://dx.doi.org/10.46809/jcsll.v1i4.45.
Full textAbstract:
La invención de Morel reflect on how the use of technologies could be fascinating and dangerous at the same time; and the way the island seems to be a space of freedom while it is actually a place of prison and death. La invención de Morel presents a utopian situation that transforms into a dystopia. Characters, especially the narrator, project their desires along with the holograms, but they are deceived without realizing about their loss of reality. The novel uses phantasy and science fiction resources to reflect about the way humans self-imprison. This is studied by analogy to the effects of technologies in today's society. In this sense, the novel by Adolfo Bioy Casares is about a menace due to the human preference of imaginary life over real one.
10
Telles, Helyom Viana, and Lynn Alves. "Narrative, history, and fiction: history games as boundary works." Comunicação e Sociedade 27 (June 29, 2015): 319–33. http://dx.doi.org/10.17231/comsoc.27(2015).2104.
Full textAbstract:
This work arises from the reflections generated by a post-doctoral study that investigates how history games can contribute to the production and dissemination of representations, pictures, and imaginaries of the past. We understand history games to be digital electronic games whose structure contains narratives or simulations of historical elements (Neves, 2010). The term notion of “border works” is used by Glezer and Albieri (2009) to discuss the role of literary and artistic works that, standing outside the historiographical field and having a fictional character, are forms of the dissemination of historical knowledge and approximation with the past. We want to show how, under the impact of the linguistic turn, the boundaries between history and fiction have been blurred. Authors such as White (1995) and Veyne (2008) found both a convergence with and identification between historical narrative and literary narrative that interrogates the epistemological status of history as a science. These critiques result in an appreciation of fictional works as both knowledge and the dissemination of historical knowledge of the past. We then examine the elements of the audiovisual narratives of electronic games (Calleja, 2013; Frasca, 1999; Jull, 2001; Murray, 2003; Zagalo, 2009) in an attempt to understand their specificity. Next, we investigate the place of the narrative and historical simulations of electronic games in contemporary culture (Fogu, 2009). Finally, we discuss how historical knowledge is appropriated and represented by history games (Arruda, 2009; Kusiak, 2002) and analyze their impact on the production of a historical consciousness or an imaginary about the past.
Dissertations / Theses on the topic "Newford (imaginary place), fiction"
1
James, David. "The spatial imaginary of contemporary British fiction : place, perception, poetics." Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426265.
Full text
2
Lasseter, Helen Theresa Wood Ralph C. "Fate, providence, and free will : clashing perspectives of world order in J. R. R. Tolkien's Middle-earth /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4845.
Full text
3
Singh, Sanjana. "Messiahs and martyrs : religion in selected novels of Frank Herbert's Dune chronicles." Diss., 2012. http://hdl.handle.net/10500/11839.
Full textAbstract:
The focus of this dissertation is Frank Herbert‘s use of messiahs and martyrs in selected
novels of the Dune Chronicles. I make connections with Herbert‘s studies, inspirations and
background to his treatment of religion, establishing the translation of these ideas in the texts.
To identify and study every aspect of religion in the series is impossible; however, I will
include other features that I deem important to my understanding of the religious theme in
these texts. I intend to scrutinize these novels to find evidence of Herbert‘s claim that he
studied religion at great length. I will also observe Herbert‘s attitude to and engagement with
religion in the Dune ChroniclesEnglish Studies
M.A. (English Studies)
Books on the topic "Newford (imaginary place), fiction"
More sourcesBook chapters on the topic "Newford (imaginary place), fiction"
1
Manetti, Roberta. "I viaggi in un romanzo e i viaggi di un romanzo nel basso medioevo. Il caso del Joufroi de Poitiers." In Studi e saggi, 157–64. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-467-0.14.
Full textAbstract:
In the fiction of the Joufroi de Poitiers, the author, perhaps a native of eastern France, claims to have found his story near Montpellier. His journey is perhaps not imaginary as we have an indication of a place that carries a certain political value, in an era when the French Crown, after having concluded the anti-Albigensian crusade in the mid-thirteenth century, had taken possession of the Midi. Montpellier was likely a free zone for the production and circulation of works of anti-Capetian satire, such as the Occitan novel which goes under the modern title of Flamenca. In fact, composed in the entourage of James I of Aragon in Montpellier, the Flamenca is one of the probable sources of Joufroi de Poitiers.
2
Engelhardt, Nina. "Conclusion: Modernism, Fiction and Mathematics." In Modernism, Fiction and Mathematics, 157–63. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474416238.003.0006.
Full textAbstract:
The conclusion summarises the varying ways in which the modernist and postmodernist fictions discussed in this book inform the notion of mathematical modernism. Based on the results of the study, the conclusion again argues for the need to account for the unique status of mathematics in the spectrum of the disciplines, particularly when the specific characteristics of mathematics gain attention with its modernist transformation. At the same time, mathematics becomes a necessary and fruitful concern of modernist studies, providing new insights on the roles of reason and imaginary concepts, as well as on modernist experimentation with literary form. This book’s examination of literary engagements with mathematics leads to questioning interpretations of modernism as mainly focused on negative aspects of modernisation and instrumental rationality. Fictions written in and about the period, as well as mathematical prose texts of the time, reconsider the foundations of reason and rediscover neglected aspects of rational domains, including, counter-intuitively, non-rational and imaginary dimensions. The conclusion emphasises that examining the place of mathematics leads to a more nuanced understanding of modernism’s complex engagement with its roots in the Enlightenment and its reassessment in postmodernism.
3
James, Susan. "Responding Emotionally to Fiction." In Spinoza on Learning to Live Together, 73–84. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198713074.003.0006.
Full textAbstract:
Contemporary analytical philosophers ask why we respond emotionally to characters we believe to be fictional. Why, for example, do we grieve for Anna Karenina? To understand this problem it is helpful to turn to Spinoza, who argues that the ability to keep our emotions in line with our beliefs is a complex skill. Rather than asking why we depart from it in the case of fictions, we need to begin by considering how we acquire it in the first place. Spinoza also considers the value of this skill. In his account, fictions function rather like Winnicott’s transitional objects. They enable us to negotiate the boundary between the real and the imaginary in a way that contributes to our philosophical understanding and increases our capacity to live together.
4
McDonagh, Josephine. "Walter Scott’s Long-Distance Fiction." In Literature in a Time of Migration, 39–69. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895752.003.0002.
Full textAbstract:
Innovations in novelistic form that appear at the end of the Napoleonic Wars do so in the context of a national discussion about colonial emigration, and an uprooting and dispersing of British people on a profound scale, that provoked a reimagining of global space. Poverty, unemployment, and security, both domestically and in the colonies, were concerns about which emigration was proposed as a possible solution. This helps to explain two influential formal innovations made by Walter Scott in Guy Mannering (1815). The first is the invention of a new geographical imaginary. The novel is distinctive for its international backstory that takes place in India outside the main temporal and geographical frames of the novel, as well as a mode of calibrating distance in relation to details of size and scale, and through manipulating levels of readerly attention. The second innovation is its eccentric character, the gypsy, Meg Merrilies, who specifically derives from these spatial concerns. Her character is especially topical as it draws on contemporary beliefs about gypsies, a displaced people thought to have originated in India, but who are also identified with Scottish peasants displaced during the Highland Clearances, and other indigenous displaced people. Through the character of Meg, the novel examines contemporary questions about property, place, and belonging, as well as race and indigeneity. Meg’s persistence in print culture through the next several decades, reimagined in theatrical renditions, poems, print commodities, and travel writings, turns her into a celebrity character, and constituent element of a migratory British culture.
5
Ferguson, Rex. "Secretions." In Identification Practices in Twentieth-Century Fiction, 119–58. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198865568.003.0004.
Full textAbstract:
DNA profiling, in which individual being is identified by its cellular structures, was first developed by the geneticist Alec Jeffreys in the 1980s. That this source of identity also forms the instructions through which living organisms are generated has complicated profiling’s place in the cultural imaginary of the late twentieth century. So, while profiling actually deals only in non-coding regions of the genome—matter often referred to as ‘junk DNA’—the significance of DNA as a substance of forensic analysis, in the late twentieth century imaginary, is its resonance as the apparent blueprint of existence. The notable features that this blurring of concepts brings about include a conceptualization of identity as a mass of information; notions to do with codes and coding; the presence of the body in the fluids which spill beyond its bounds; and a sense of the body as an archive of heredity and primitivism. In writing specifically about genetic research, Richard Powers’s The Gold Bug Variations (1991) serves a dual function in this chapter, as both an explicatory document and thematic example. But the more substantive analysis is reserved for the work of J. G. Ballard which, from its science fiction origins in novels such as The Drowned World (1962), through the controversial era of Crash (1973), to its trilogy of autobiographical texts (Empire of the Sun (1984), The Kindness of Women (1991), and Miracles of Life (2008)) articulates a form of identity that has close, though often oblique, affinities with all the most prominent features of DNA profiling.
6
Caughie, John. "Depicting Scotland: Scotland in Early Films." In Early Cinema in Scotland. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420341.003.0009.
Full textAbstract:
This chapter by John Caughie addresses both fiction and non-fiction films, dealing with scenics made by international companies, and with the ways in which Scotland was represented in international feature cinema. Particular attention is given to the mapping of scenics and their relation to eighteenth- and nineteenth-century travel literature. With regard to the feature film, it follows the traditions of Scott and romanticism, the movement in the 1920s towards Barrie and domestic melodrama, and the perennial return to the comic characters of Scottish music hall. The chapter addresses the question of how it came to be that a country without its own film industry nevertheless secured a place in the international cinematic imaginary.
7
Baker, Timothy C. "Mapping Escape: Geography and Genre." In Scottish Writing After Devolution, edited by Marie-Odile Pittin-Hedon, Camille Manfredi, and Scott Hames, 123–40. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474486170.003.0007.
Full textAbstract:
Timothy Baker’s chapter approaches women’s fiction through their depiction of and connection with landscape, making use of Westphal’s theory on geocriticism, as well as Braidotti’s re-reading of Deleuze on maps, and his notion of nomadism. Focusing mainly on recent fiction by Laura Marney, Jeni Fagan, Linda Cracknell, Sarah Moss, but also crime novels by Karen Campbell, Denise Mina and Shona MacLean, Baker tackles the question of spatial identity, showing how the various authors create Gothic landscapes that defamiliarize the familiar, or use the generic codes of crime to reach a similar goal. The real and the imaginary therefore interact, with the map seen as a tool of interaction, a way to chart not a real, fixed place, but a network of possibilities.
8
Rooney, Brigid. "Interior History, Tempered Selves." In Modernism, Postcolonialism, and Globalism, 257–76. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199980963.003.0013.
Full textAbstract:
Focusing on Johnno (1975), An Imaginary Life (1978), and Remembering Babylon (1993), this chapter argues that David Malouf’s redeployment of the formal devices of the modernist novel enables a distinctively Australian representation of postcolonial modernity. It explores Malouf’s public and literary advocacy of “imaginative possession” as a means to achieve settler belonging and effect true reconciliation between Indigenous and non-Indigenous Australians. Postcolonial critics, however, have accused Malouf of appropriating Aboriginal history and identity. This chapter argues that modernist investments within Malouf’s fiction enable imaginative possession but also yield enigma. Malouf’s use of Woolf and Faulkner’s shifts in narrative perspective, Proust’s manipulation of time and memory, Proust and Joyce’s reworking of the Bildungsroman, and the modernist intensification of lyrical subjectivity enables the tempering and attuning of settler selves to place. Yet in Johnno modernist resources unravel fixed truths, pointing instead to creative error and the fabrications of the self.
9
Rice, Alison. "Transposed Modes." In Transpositions, 261–86. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789621112.003.0013.
Full textAbstract:
This chapter examines three recent works of fiction by Francophone writers that represent with pressing detail the dilemmas faced by migrants who risk everything in an attempt to reach northern shores. The reasons behind these departures are multiple, but most migrants are motivated by more than simplified facts. There is something driving many of these individuals that goes beyond their dire circumstances and speaks to their imaginary in such a powerful way that they are prone to keep trying, even when they are repeatedly deflected from reaching their geographical goals. This tendency to remain fixated with the desired destination is exemplified in Fabienne Kanor’s Faire l’aventure (2014), a novel featuring plurilingual passages and musical moments that have much in common with similar innovative techniques in Nathacha Appanah’s Tropique de la violence (2016) and Fatou Diome’s Celles qui attendent (2010). Taken together, these current migratory texts disrupt a linear sense of progression and reveal that many migrants are denied the possibility of reaching the finish line of their dreams and are condemned to circle back, again and again, until the place where the race began becomes the final note.