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Academic literature on the topic 'Otters in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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Journal articles on the topic "Otters in fiction"

1

Kemp, Anthony. "Inventiones: Fiction and Referentiality in Twelfth-Century English Historical Writing.Monika Otter." Speculum 74, no. 1 (January 1999): 235–37. http://dx.doi.org/10.2307/2887340.

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2

Biles, Jeremy. "Homesick for Another World: Stories. Fiction. By Ottessa Moshfegh. New York: Penguin Books, 2018. $26.00." Religious Studies Review 45, no. 1 (March 2019): 58–59. http://dx.doi.org/10.1111/rsr.13814.

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3

Esamagu, Ochuko. "Towards Environmental Justice: An Ecopoetical Reading of Ikiriko and Otto’s Poetry." International Journal of Language and Literary Studies 2, no. 4 (December 26, 2020): 243–57. http://dx.doi.org/10.36892/ijlls.v2i4.449.

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Ecology is a study that transcends disciplinary boundaries. It has roots in the sciences but enjoys a number of representations in the humanities, specifically through literature. Several African writers have in their imaginative works, portrayed the devastating condition of the environment in a 21st century technological-driven world and also proposed solutions to this malady. In fact, environmental degradation has become a global issue, hence, the pressing need for a lasting panacea. Attempts at literary ecocriticism in Nigerian literature have largely focused on prose fictional works and the poetry collections of older and second generation poets like Tanure Ojaide. Consequently, little research has been carried out on the representation of environmental degradation in the poetry of more contemporary poets like Ibiwari Ikiriko and Albert Otto. This paper therefore, is a critical, close reading of Ikiriko and Otto’s poetry engagement with environmental degradation. The paper adopts the notion of ecopoetry from the ecocritical theory, which accounts for poetry foregrounding questions of ethics in relation to the environment. It acts as a reminder to humans of their responsibility towards the earth and challenges the existing status-quo that has the environment and the common people at the mercy of the ruling class. In this paper, Ikiriko’s Oily Tears of the Delta and Otto’s Letter from the Earth are subjected to literary and critical analysis to examine their preoccupation with the destructive onslaught on nature, and the traumatic experiences of the marginalised. Amidst the environmental depredation, the poets express hope and revolutionary fervour towards the rejuvenation of their society.

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4

Drikker, Alexander S., and Oxana A. Koval. "Horizons of memory: childhood memoriesas an experience of figurative comprehension of timein the philosophy of Walter Benjamin." Philosophy Journal, no. 3 (2021): 52–67. http://dx.doi.org/10.21146/2072-0726-2021-14-1-52-67.

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The article outlines Walter Benjamin’s philosophical theory of time, which formed the basis of his conception of history. It is a famous alternative to a number of existing models. Benjamin’s approach to understanding time is characterized by a unique methodology. It is based on artistic images and not on abstract categories and linear patterns of a philosophical and historical discourse. On the one hand, such images allow Benjamin to capture the characteristic properties of a concrete time, which are often difficult for historical science to grasp, and on the other hand, they make a strong impression on the reader because they require an emotional involvement in the text. The book “Berlin childhood around 1900”, often attributed to the genre of a poetic prose, is a visual representation of Benjamin’s philosophical ideas. The fragmentary style of narration and its metaphorical nature are intended to demonstrate a different way of experiencing the present moment – when the signs of the future clearly appear in the fragments of the past. The fusion of all three temporal modes in an instant he calls “Jetztzeit” (just now), which is difficult to articulate in the language of rational metaphysics, is embodied in the allegories of “Berlin childhood”. Selected fragments of this work are analyzed in the present paper. They capture each of the three time dimensions in the current “now” mode: the fragment “The otter” symbolizes the past, “Loggias” symbolizes the future and “The sock” symbolizes the present. Childhood memories, which do not usually appear in philosophical reflections, serve as a source of the birth of images: on the one hand, they supply sensual material from personal experience, on the other hand, they suggest a synthesizing principle, because a child is more sensitive to the unity of fiction and reality. Benjamin’s “memorial letter”, seen from this angle, turns out to be a strategy to think poetically about the world, time, and history.

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5

Ridyard, Susan J. "Monika Otter. Inventiones: Fiction and Referentiality in Twelfth-Century English Historical Writing. Chapel Hill: University of North Carolina Press. 1996. Pp. x, 230. $17.95 paper. ISBN 0-8078-4600-7." Albion 29, no. 4 (1997): 649–51. http://dx.doi.org/10.2307/4051892.

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6

Cantarela, Antonio Geraldo. "O SAGRADO NA CONSTRUÇÃO NARRATIVA DE MIA COUTO "The sacred on Mia Couto’s narrative construction"." PARALELLUS Revista de Estudos de Religião - UNICAP 5, no. 10 (December 30, 2014): 191. http://dx.doi.org/10.25247/paralellus.2014.v5n10.p191-206.

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A obra do escritor moçambicano Mia Couto apresenta grande número de construções discursivas que podem ser associadas ao âmbito da religião e do sagrado. Tais marcas certamente poderiam ser abordadas por leituras teológicas ou das ciências da religião. Fugindo a esses vieses, o artigo propõe-se a destacar o modo como as referências ao sagrado “visitam” o texto do escritor, constituindo-o no literário. Metodologicamente, far-se-á a leitura de uma cena do romance O outro pé da sereia em diálogo com as categorias de Otto sobre o numinoso. Em vista de complementar tal perspectiva de leitura, serão lidos também dois contos, em correlação com o conceito de realismo maravilhoso: O embondeiro que sonhava pássaros e O dia em que explodiu Mabata-bata. Sob o foco da crítica literária, conclui-se que as sacralidades e hierofanias que transitam pelo texto de Couto se entendem como encenação e recriação literária do sagrado. Nas considerações finais afirma-se que o fazer literário que assume as vozes dos marginalizados, ainda que pelo caminho da ficção, pode ser acolhido como objeto de leitura teológica.Palavras-chave: Numinoso. Realismo maravilhoso. Teologia. Literatura.AbstractThe work by Mozambican writer Mia Couto shows a great number of discursive constructions that may be associated with the field of religion and the sacred. These features could certainly be addressed by theology or religious studies texts. In an attempt to run away from these perspectives, the goal of this paper is to highlight the way in which references to the sacred “visit” the writer’s text, making it a literary one. Methodologically speaking a scene from the novel The Mermaid’s Other Foot will be read in a dialogue with Otto’s categories on the numinous. In order to complement this point of view of the reading, two other short stories will also be read in relation to the magical realism concept: The bird-dreaming baobab and the The day Mabata-bata exploded. Using the literary criticism approach, the conclusion is that the sacralities and hierophanies present on Couto’s text are understood as the staging and the literary recreation of the sacred. The concluding remarks state that the literary doing in the marginalized voices, although it is done through fiction, can be seen as an object of theological reading.Keywords: Numinous. Magical Realism. Theology. Literature.

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7

Ottens, Michel. "A Broken Mirror Held to History’s Face On the Narrative Use of Computer Screens, Multi Screen Experiences, and a Transmedia Theoretical Console in the Popular Assassin’s Creed Series." International Journal of Transmedia Literacy (IJTL) 5 (January 12, 2021). http://dx.doi.org/10.7358/ijtl-2019-003-otte.

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This paper presents media theorist Nanna Verhoeff’s concept of the theoretical console, as a popular and overt form of transmedia narrative. The theoretical console is taken to be a transmedia assemblage that draws attention to itself, as comprising diverse and meaningful media objects, that can be connected in a shared narrative. My main examples of this concept here are those popular video games that spatially juxtapose several types of computer screens and computer uses, with a narrative emphasis. With extensive references to theory on screened media and on transmedia narratives, Assassin’s Creed IV: Black Flag is my main example case study. Specifically, this game and its series peers encourage historiographic contemplations, by assembling a theoretical console across several media forms. Other popular video games from that series provide variations of this same transmedia constellation, this “theoretical console”. In its transmedia constellation, with a second screen mobile phone app, and other complementary screen media, the fictionalized history of Assassin’s Creed IV: Black Flag implicates elements from its actual reality, across various forms of engagement. Assassin’s Creed IV: Black Flag presents a high fidelity historical fiction, to be comprehensively enacted. It mirrors the player’s use of differing computer screens diegetically within playable frame story sections. In addition, the complementary affordances of the mobile phone app, and integrated social media websites, all encourage its player to stay involved in this fictional world, even outside immediate play. With this, the game draws many activities into a single transmedial fiction constellation. Moreover, the game diegetically references online repositories for both its fictionalized history, and actual history. This use of computer screens, to form a transmedia constellation in the form of an overt theoretical console, is shown to complement this popular game’s hypermediative narrative of a fictional shadow war secretly driving actual human history, which then meaningfully posits how to theorize history in our everyday lives.

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Books on the topic "Otters in fiction"

1

Delano, Marfe Ferguson. Sea otters. Washington, D.C: National Geographic Society, 1999.

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2

ill, Melvin James, ed. Oopsie Otter: A tale of playful otters. Nags Head, NC: Nags Head Art, 1996.

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3

ill, Kuroi Ken 1947, ed. Swim the silver sea, Joshie Otter. New York: Philomel Books, 1993.

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4

ill, Harer Elizabeth, ed. Ode to Oliver: The adventures of a sea otter. Philadelphia: Cormorant Press, 1996.

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5

ill, Garrett Don L., ed. The sea child: A novel. Santa Barbara, Calif: J. Daniel, 1987.

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6

Cosgrove, Stephen. Lady Rose. Los Angeles, Calif: Price Stern Sloan, 1990.

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7

ill, London Sean, ed. Pup the Sea Otter. Portland, Oregon: Westwinds Press, 2017.

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8

Berger, Barbara Helen. A lot of otters. New York: Penguin Group, 2008.

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9

Jones, Kari. Out of season. Victoria, BC: Orca Book Publishers, 2012.

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10

Halfmann, Janet. Good night, Little Sea Otter. Long Island City, NY: Star Bright Books, 2010.

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Book chapters on the topic "Otters in fiction"

1

King, Edward. "Distributed Agency in Marcelo Cohen’s Casa de Ottro." In Science Fiction and Digital Technologies in Argentine and Brazilian Culture, 125–52. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137338761_5.

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