Relevant bibliographies by topics / Playgrounds, fiction

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Academic literature on the topic 'Playgrounds, fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Playgrounds, fiction"

1

Stefanović, Armin. "“Yer a Wizard”: How Fantasy Fiction Facilitates Playing with Emotions and Reinforces Magical Thinking." Dzieciństwo. Literatura i Kultura 5, no. 2 (2024): 114–33. http://dx.doi.org/10.32798/dlk.1204.

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In this paper, the author argues that fantasy literature serves as a cognitive playground that helps us practise and reaffirm our magical-thinking intuitions. He demonstrates how, just as in magical practices, magic in fantasy fiction becomes a tool for overcoming difficulties and restoring a sense of balance, security, and control. He contends that supernatural agents can be seen as emotional correlatives, giving faces and voices to emotional states and describing a phenomenon from the perspective of how it feels, rather than from a rational viewpoint. This opens up a possibility to articulate those aspects of our emotional lives that are difficult to express in terms of mimetic representation. He posits that, through distancing, fantasy fiction creates a safe environment for engaging with such emotional states, in which magic restores our intuition that no matter how dark our situation appears, we have an inner capacity to overcome it. The main example that is used in the paper is J. K. Rowling’s Harry Potter series.
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Mike Cadden. "The Inter-Galactic Playground: A Critical Study of Children's and Teens' Science Fiction (review)." Lion and the Unicorn 34, no. 2 (2010): 258–62. http://dx.doi.org/10.1353/uni.0.0497.

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3

Michael Levy. "The Inter-Galactic Playground: A Critical Study of Children's and Teen's Science Fiction (review)." Children's Literature Association Quarterly 34, no. 4 (2009): 407–11. http://dx.doi.org/10.1353/chq.0.1935.

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Lehmberg, Rachael. "The Color of Hope." After Dinner Conversation 4, no. 10 (2023): 86–92. http://dx.doi.org/10.5840/adc202341096.

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How much say should a parent have in their child’s education? Should you always correct a student’s misunderstanding of facts? In this philosophical short story fiction, the year is 1982, the location is Chavez School in Phoenix, Arizona. The teacher/narrator of the story is having her usual day when an unusual new student comes to class, a black student named Omar. He is smartly dressed in a white shirt and tie, with polished black shoes. Unusual attire for a 4th grader in the hot Arizona desert. His father explains that they are Muslim, and that Omar is not to have class material related to holidays, and will not say the pledge of allegiance. Omar is teased, but mostly ostracized, by the other children, and racial slurs are sometimes heard on the playground. One day the narrator/teacher overhears Omar showing his younger brother the country of Niger on a world map. Niger, Omar explains to his younger brother, must be their home country, must where they are from, must be their home. That must be why he hears that word being called to him so often.
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5

Roy, Gitanjali. "Performance Space of the Digital Performer/Reader inside Andy Campbell and Judi Alston’s Digital Fiction the Nightingale’s Playground." Rupkatha Journal on Interdisciplinary Studies in Humanities 13, no. 2 (2021). http://dx.doi.org/10.21659/rupkatha.v13n2.32.

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A digital performer has to negotiate with different kinds of affordances inside the space of a digital text. The Nightingale’s Playground (2010), a digital fiction authored by Andy Campbell and Judi Alston offers the reader/player with four versions of the text centering on the protagonist Carl Robertson who tries hard to search for his lost school friend Alex Nightingale. The online texts (‘Consensus Trance’, ‘Fieldwork Book’) and the gaming version of the digital fiction (‘Consensus Trance II’) offer the reader different decisional platforms. This makes it a challenging task for the reader to connect the affordances of the digital text. At the same time, the offline pdf version of the digital fiction hints at Carl being affected by a psychological disorder. The paper shall focus on how a digital reader negotiates his/her position inside the digital text by decoding the programmer’s/author’s encoded plot.
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Cengiz, Burcu Nur, and Murat Ateşli. "TRANSITIONAL AREAS OF DIGITAL GAME ART." Anadolu Üniversitesi Sanat & Tasarım Dergisi, February 8, 2024, 664–85. http://dx.doi.org/10.20488/sanattasarim.1506584.

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Digital games, which constitute a part of new media studies, offer different reality experiences and new expressive environments to a player with multimodal interactions and hybrid reality practices offered by game engines. The alternative environments offered by digital game art create a kind of ‘transitional space’ in the participant’s experience process with ambiguous structures such as reality-fiction. The phenomenon of the transitional area, discussed by Donald W. Winnicott, is the cultural manoeuvring space in which the subject experiences both internal and external reality while constructing the initial fiction of the self, and is closely related to Jean Baudrillard’s concept of simulation in which fiction and reality are mixed. In contemporary art, where the artistic image becomes a virtual reality, phantasmagoria, in which meaning and reality are reconstructed and staged in new media works referencing digital game practices, takes place in the transitional areas that Winnicott sees as a dynamic and experiential playground. This research focuses on digital game art works of different artists such as Olafur Eliasson, Hesam Jalili, Theo Triantafyllidis, Ian Cheng, and Joon Yong Moon, who create a transitional space in their work with practices such as ‘gamification of space’ and ‘counter gaming’.
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7

Cuntz-Leng, Vera. "Twinship, incest, and twincest in the Harry Potter universe." Transformative Works and Cultures 17 (March 25, 2014). http://dx.doi.org/10.3983/twc.2014.0576.

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Among the large group of Harry Potter fans who write their own stories about the boy wizard, his friends, and his foes, and publish them on the Internet, some are interested in the exploration of the erotic and romantic bond between identical twins. Because the Harry Potter saga features two sets of identical twin pairs of different gender—the Weasley brothers and the Patil sisters—the series not only provides a unique playground for the recipients in terms of the possibilities for twincest stories; more importantly, it offers ample opportunity for researchers to examine how fans actually use such pairings. In this essay, the examination of twin relationships as portrayed within Rowling's works, the movies, and in twincest fan fiction are confronted with each other to outline how Rowling's different concepts of the sibling pairs and the author's general ongoing interest in doubling motifs is consistently expanded by fan fiction writers to discuss the complex relationship between source and fan text.
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8

"The inter-galactic playground: a critical study of children's and teens' science fiction." Choice Reviews Online 47, no. 03 (2009): 47–1270. http://dx.doi.org/10.5860/choice.47-1270.

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9

Wagenaar, Welmoed Fenna. "Discord as a fandom platform: Locating a new playground." Transformative Works and Cultures 42 (March 14, 2024). http://dx.doi.org/10.3983/twc.2024.2473.

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The VoIP and instant messaging platform Discord has seen immense user growth over the past few years, including among fans involved with transformative works. Analyzing Discord from a framework of polymedia and play provides new insights into what Discord affords these fans and how they navigate the platform as part of their fan practices. It shows how the platform has been adopted and adapted in ways that facilitate fan play and allow for play moods to be created, strengthened, or maintained. Discord provides a suitable playground for fans, because it allows fans to negotiate closed online spaces where they can play freely, without outside disruption. These spaces can be organized in ways that distinguish between play and nonplay and maintain fannish principles of warning and consent. In addition, Discord provides an extra dimension to the experience of taking part in fan fiction exchanges, creating a compelling, collective mood in servers that people can continually come back to. Positioning this within a broader network of platforms and affordances that fans navigate shows how Discord fulfills particular needs and niches, especially with regard to Not Safe For Work material. More generally, this study provides a framework for understanding the reciprocal and dynamic relationships between users, affordances, rules, and structures in contemporary platform society.
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10

Pierce, Peter. "Literature of the Pacific, Mainly Australian." eTropic: electronic journal of studies in the tropics 12, no. 2 (2016). http://dx.doi.org/10.25120/etropic.12.2.2013.3344.

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This lecture is in some ways the ‘lost’ chapter of The Cambridge History of Australian Literature (2009), one eventually not written because the projected author could find not enough literary material even in that vast Pacific Ocean, or perhaps found – as mariners have – only far separated specks in that ocean. Yet Australian literature about the nation’s Pacific littoral and the islands within the ocean and the ocean itself is varied, considerable, and often eccentric. Our greatest drinking song is Barry Humphries’s ‘The Old Pacific Sea’. The Japs and the jungle are the hallmarks of fiction, poetry and reportage of the Pacific War of 1942-5. New Guinea has attracted such writers as James McAuley, Peter Ryan, Trevor Shearston, Randolph Stow and Drusilla Modjeska. The short stories of Louis Becke are the most extensive and iconoclastic writing about the Pacific by any Australian. Yet the literature of the Pacific littoral seems thinner than that of the Indian Ocean. The map on the title page of Rolf Boldrewood’s A Modern Buccaneer (1894) shows those afore-mentioned specks in a vast expanse of water. What aesthetic challenges have Pacific writing posed and how have they been met? Have the waters of the Pacific satisfied Australians as a near offshore playground but defeated wider efforts of the imagination?
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Books on the topic "Playgrounds, fiction"

1

Silent playgrounds. Collins Crime, 2000.

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2

Nyiri, Janós. Battlefields and playgrounds. Macmillan, 1989.

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Nyiri, Janós. Battlefields and playgrounds. Macmillan, 1989.

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János, Nyíri. Battlefields and playgrounds. Brandeis University Press, 1997.

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5

Little, Jean. King of the Playground. Atheneum, 1991.

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6

Berridge, Celia. At the playground. Random House, 1987.

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7

Brasch, Nicolas. Theme parks, playgrounds, and toys. Smart Apple Media, 2011.

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8

Allen, Kit. Slide, already! Houghton Mifflin, 2005.

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9

ill, Malone Nola Langner, and Chen Hongshu, eds. Gong yuan xiao ba wang. Dong fang chu ban she, 2004.

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10

ill, Karas G. Brian, ed. Playground fun. Troll Associates, 1988.

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Book chapters on the topic "Playgrounds, fiction"

1

Waller, Gary. "Lady Mary Wroth : The Countesse of Mountgomeries Urania and Pamphilia to Amphilanthus." In The Female Baroque in Early Modern English Literary Culture. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463721431_ch06.

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Mary Wroth’s major literary works, The Countesse of Mountgomeries Urania and the poetry collection Pamphilia to Amphilanthus, are distinctively Baroque: Wroth repeatedly, obsessively, demonstrates a fascination with multiple narratives, the blurring of fiction and history, and eruptions of magical or miraculous interventions. She establishes the contours of a female Baroque subject, who has to absorb and attempt to transcend enculturation by the dominant male discourse. What happens when a woman enters the predominantly male discursive poetical playground of Petrarchism? Could a woman envisage anything more than her own fragmentation? Would hers be the ‘same’ anguish as that articulated on behalf of the dominant male subject position? What cultural forces speak through her in addition to those she attempts to control?
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