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Rajabov, Akhtam, and Lola Jalilova. "PECULIARITIES OF MODERN UZBEK CHILDREN`S LITERATURE (ON THE EXAMPLE OF KHUDOIBERDI TOKHTABOYEV`S WORKS)." Scientific Reports of Bukhara State University 5, no. 2 (May 24, 2021): 169–77. http://dx.doi.org/10.52297/2181-1466/2021/5/2/15.
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Introduction. In the Uzbek children's literature of the period of independence, the influence of national pedagogy, oral folk art is traced, which leads to the strengthening of the national color in the works, the awareness of folk wisdom, the upbringing of positive qualities, the enrichment of the speech of children with national concepts and terms. The coverage of spiritual and educational problems of the socio-political environment with the help of human emotions and experiences is observed in the works of Uzbek fiction. Research methods. In order to create fiction, it is necessary to study the child's psyche in depth. In the literature of any nation, knowledge of psychology, understanding it and conveying it to the reader through unique words plays a key role. As a result a large part of child psychology is conveyed to younger readers through fiction. A great feature of children's literature is that it is inextricably linked to the age, history and social environment of the reader.
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Martins, Mauricio de Jesus Dias, and Nicolas Baumard. "The rise of prosociality in fiction preceded democratic revolutions in Early Modern Europe." Proceedings of the National Academy of Sciences 117, no. 46 (October 30, 2020): 28684–91. http://dx.doi.org/10.1073/pnas.2009571117.
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The English and French Revolutions represent a turning point in history, marking the beginning of the modern rise of democracy. Recent advances in cultural evolution have put forward the idea that the early modern revolutions may be the product of a long-term psychological shift, from hierarchical and dominance-based interactions to democratic and trust-based relationships. In this study, we tested this hypothesis by analyzing theater plays during the early modern period in England and France. We found an increase in cooperation-related words over time relative to dominance-related words in both countries. Furthermore, we found that the accelerated rise of cooperation-related words preceded both the English Civil War (1642) and the French Revolution (1789). Finally, we found that rising per capita gross domestic product (GDPpc) generally led to an increase in cooperation-related words. These results highlight the likely role of long-term psychological and economic changes in explaining the rise of early modern democracies.
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Demmerling, Christoph. "Von den Lesewelten zur Lebenswelt. Überlegungen zu der Frage, warum uns fiktionale Literatur berührt." Journal of Literary Theory 12, no. 2 (September 3, 2018): 260–78. http://dx.doi.org/10.1515/jlt-2018-0015.
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Abstract The following article argues that fictional texts can be distinguished from non-fictional texts in a prototypical way, even if the concept of the fictional cannot be defined in classical terms. In order to be able to characterize fictional texts, semantic, pragmatic, and reader-conditioned factors have to be taken into account. With reference to Frege, Searle, and Gabriel, the article recalls some proposals for how we might define fictional speech. Underscored in particular is the role of reception for the classification of a text as fictional. I make the case, from a philosophical perspective, for the view that fictional texts represent worlds that do not exist even though these worlds obviously can, and de facto do, contain many elements that are familiar to us from our world. I call these worlds reading worlds and explain the relationship between reading worlds and the life world of readers. This will help support the argument that the encounter with fictional literature can invoke real feelings and that such feelings are by no means irrational, as some defenders of the paradox of fiction would like us to believe. It is the exemplary character of fictional texts that enables us to make connections between the reading worlds and the life world. First and foremost, the article discusses the question of what it is that readers’ feelings are in fact related to. The widespread view that these feelings are primarily related to the characters or events represented in a text proves too simple and needs to be amended. Whoever is sad because of the fate of a fictive character imagines how he or she would fare if in a similar situation. He or she would feel sad as it relates to his or her own situation. And it is this feeling on behalf of one’s self that is the presupposition of sympathy for a fictive character. While reading, the feelings related to fictive characters and content are intertwined with the feelings related to one’s own personal concerns. The feelings one has on his or her own behalf belong to the feelings related to fictive characters; the former are the presupposition of the latter. If we look at the matter in this way, a new perspective opens up on the paradox of fiction. Generally speaking, the discussion surrounding the paradox of fiction is really about readers’ feelings as they relate to fictive persons or content. The question is then how it is possible to have them, since fictive persons and situations do not exist. If, however, the emotional relation to fictive characters and situations is conceived of as mediated by the feelings one has on one’s own behalf, the paradox loses its confusing effect since the imputation of existence no longer plays a central role. Instead, the conjecture that the events in a fictional story could have happened in one’s own life is important. The reader imagines that a story had or could have happened to him or herself. Readers are therefore often moved by a fictive event because they relate what happened in a story to themselves. They have understood the literary event as something that is humanly relevant in a general sense, and they see it as exemplary for human life as such. This is the decisive factor which gives rise to a connection between fiction and reality. The emotional relation to fictive characters happens on the basis of emotions that we would have for our own sake were we confronted with an occurrence like the one being narrated. What happens to the characters in a fictional text could also happen to readers. This is enough to stimulate corresponding feelings. We neither have to assume the existence of fictive characters nor do we have to suspend our knowledge about the fictive character of events or take part in a game of make-believe. But we do have to be able to regard the events in a fictional text as exemplary for human life. The representation of an occurrence in a novel exhibits a number of commonalities with the representation of something that could happen in the future. Consciousness of the future would seem to be a presupposition for developing feelings for something that is only represented. This requires the power of imagination. One has to be able to imagine what is happening to the characters involved in the occurrence being narrated in a fictional text, ›empathize‹ with them, and ultimately one has to be able to imagine that he or she could also be entangled in the same event and what it would be like. Without the use of these skills, it would remain a mystery how reading a fictional text can lead to feelings and how fictive occurrences can be related to reality. The fate of Anna Karenina can move us, we can sympathize with her, because reading the novel confronts us with possibilities that could affect our own lives. The imagination of such possibilities stimulates feelings that are related to us and to our lives. On that basis, we can participate in the fate of fictive characters without having to imagine that they really exist.
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Guarneri, Ed.D., Cristina. "Stories in Children’s Literature. An Analysis of Transcendent Language." Journal of English Language and Literature 10, no. 2 (October 31, 2018): 1018–20. http://dx.doi.org/10.17722/jell.v10i2.391.
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Children’s literature plays an essential role in their development through the use of characters that they become familiar with, which become like friends. Stories have become a useful source of information for increasing reading skills, which are necessary for the development of new words. It is through the fiction literature that is based on real-life where children are able to understand traumatic events and complex ideas. They are able to understand life experiences and diversity of the world that they live in. Even with increased learning through literature, the National Literary Strategy conducted a study of words to show that children need 100 words in order to read a “real” children’s book. It is essential to distinguish between ‘restrictive texts,’ which allow for fewer perceptions to take place for active reader judgment of text that enables critical and thoughtful responses.
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Aftab, Rizwan, Asim Aqeel, and Saba Zaidi. "Semantic Set of N-Word Choices in Afro-American Fiction: A Corpus Analysis of Hurston's Their Eyes Were Watching God." Global Social Sciences Review VI, no. I (March 30, 2021): 65–72. http://dx.doi.org/10.31703/gssr.2021(vi-i).08.
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This study explores the linguistic selection focusing on the use of N-word choice by African-American fiction writers. This study explains the basic concepts of language and language use, language as a text and discourse, and also the function it plays within the context. With Halliday and Hassan's semantic set of choices, this study argues that Zora Neale Hurston does not seem aware of consciously using N-words in her novel, but her use of Nword linguistic choice to communicate the theme of race is in line with her true reflection of the society and culture she is born and bred in. Hurston might have used N-word deliberately both to appropriate lexical choice with that of characters' roles as many of the Harlem Renaissance writers did and to establish a kind of community building and collective cultural solidarity, the major determinants of Hurston's use of the N-word in Their Eyes Were Watching God.
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Cardoso, André Cabral de Almeida. "Precarious humanity: the double in dystopian science fiction." Gragoatá 23, no. 47 (December 29, 2018): 888–909. http://dx.doi.org/10.22409/gragoata.v23i47.33608.
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The double is a common feature in fantastic fiction, and it plays a prominent part in the Gothic revival of the late nineteenth century. It questions the notion of a coherent identity by proposing the idea of a fragmented self that is at the same time familiar and frighteningly other. On the other hand, the double is also a way of representing the tensions of life in large urban centers. Although it is more usually associated with the fantastic, the motif of the double has spread to other fictional genres, including science fiction, a genre also concerned with the investigation of identity and the nature of the human. The aim of this article is to discuss the representation of the double in contemporary science fiction, more particularly in its dystopian mode, where the issue of identity acquires a special relevance, since dystopias focus on the troubled relation between individual and society. Works such as Greg Egan’s short story “Learning to Be Me”; White Christmas, an episode from the television series Black Mirror; Kazuo Ishiguro’s novel Never Let Me Go; and the film Moon, directed by Duncan Jones, will be briefly examined in order to trace the ways the figure of the double has been rearticulated in dystopian science fiction as a means to address new concerns about personal identity and the position of the individual in society.---Original in English.
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Abdalla, Daniel Ibrahim. "“Heredity, Heredity!”: Recovering Henry James’s The Reprobate in Its Scientific and Theatrical Contexts." Modern Drama 64, no. 1 (March 2021): 67–87. http://dx.doi.org/10.3138/md.64.1.1122.
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The reception of Henry James’s plays has long been scripted by his fiction, overshadowing James’s broad engagement with the concerns of fin-de-siècle drama. This article offers a different approach, reading his play The Reprobate (1895) within its theatrical context and emphasizing its relations with the genre of “Ibsen parodies” – in particular, those produced by authors such as J.M. Barrie and Robert Williams Buchanan. Attention to the play’s humorous treatment of heredity – in the midst of a theatrical scene engaging with the paradigm of degeneration – reveals James as surprisingly in step with dramatic developments informed by contemporary evolutionary paradigms, ideas about gender, and comedic genres. The Reprobate’s clear relationship to works by Ibsen, Barrie, and others – as well as the intellectual framework it shares with plays by George Bernard Shaw – suggests the need to reconsider the entrenched view of James’s output in this period, especially as a playwright.
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Aftab, Rizwan, Asim Aqeel, and Mumtaz Ahmad. "Racist Contextualization of the N-Word in Hurston's Their Eyes Were Watching God." Global Regional Review V, no. I (March 30, 2020): 594–603. http://dx.doi.org/10.31703/grr.2020(v-i).62.
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With Roger Fowler's theory of 'linguistic construction', this study specifically analyses the use of the N-word (nigger) within Zora Neale Hurston's Their Eyes Were Watching God, its contextual use and the function it plays within the context and sequence of events in the delimited fiction. The N-word, which is considered highly sensitive in American society, especially in the context of African Americans, is analyzed within the immediate context of event and situation in which characters are engaged, depending on who is talking to whom, when and where, and with what purpose in mind. The entire communicative event of the N-word is also placed within the global context to fully situate the event and locate the function of the N-word within and outside the literary text and its use and interpretation in global contexts. This contextual study of Their Eyes Was Watching God argues how the highly sensitive racist words are euphemized through N-word. For this purpose, this study employs linguistic analysis by focusing on delimited text form, meaning, and use within the local and global contexts.
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Creighton, Alexander. "Chekhov’s fiddle: Towards a musical poetics of fiction." Short Fiction in Theory & Practice 9, no. 2 (October 1, 2019): 129–43. http://dx.doi.org/10.1386/fict_00006_1.
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This article explores what it means to listen to Chekhov and how this listening can provide a useful comparative framework for the study of time in short fiction. Since the tune of Chekhov’s stories lies partly in their strategic silences, we must attend as much to the unsaid, the musical rests, as to what is told. To theorize the meaningful relations that exist in and between a story’s silences and its words, I analyse two of Chekhov’s stories – ‘Easter Night’ and ‘The Bishop’ – with respect to two key terms: melodic setting and harmonic characterization. These terms refer to phenomena that run counter to our assumptions regarding character and setting by asserting that the movement we associate with the former and the stasis we associate with the latter are reductive. In music, movement and stasis are not always clear-cut terms; harmony and melody are interdependent and influence one another. Even in a symphonic form like the sonata, built around development, stasis plays a role; even in a song that dwells in the description of one mood or conflict, there is development and change. The language of music accommodates the possibility of several independent variables moving simultaneously through time, which, as Chudakov and Woolf notice of Chekhov’s work, is part of what makes even the shortest of his stories so profound.
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Sooryah, N., and Dr K. R. Soundarya. "Erraticism in the Cannibal – A Study of the Work of Thomas Harris." International Journal of Early Childhood Special Education 12, no. 2 (December 31, 2020): 18–23. http://dx.doi.org/10.9756/int-jecse/v12i2.201052.
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Literature is the key to human life that resurrects and gives space for introspection, retrospection and various remembrances which are hued by overjoy, pain and trauma. Nowadays crime literature became one of the most popular genres in this era which centers mostly on murder and violence. It started from Edgar Allen Poe’s most famous fictional character Auguste Dupin, whose first appearance was on The Murders in the Rue Mogue, considered to be the first crime fiction, followed by Dr. John Watson, Sherlock Holmes and the like. The genre crime fiction has contributed innumerable number of works in both fiction and non-fiction. Thomas Harris’s Hannibal Rising is one such fiction which tells about the life of a serial killer who is a psychiatrist as well as a cannibal. It is a series of novels about the famous character Hannibal Lecter. Cannibalism and Psychiatry are two extremes which rarely meet. This novel is intertwined with a mix of violence, emotions and childhood trauma. Trauma studies nowadays became a key aspect in literature. In this specific work of Thomas Harris, he describes how the centralized character is affected with psychological trauma, in particular, Acute and Separation trauma. Trauma theory became popularized in 1980s and played major role in Atwood’s novels. This study tries to explain how childhood shapes a person and how behaviorism plays a vital element in one’s life and it also tries to analyze the psychological issues, trauma and defense mechanism through the central character of the novel.
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Gittel, Benjamin. "In the Mood for Paradox? Das Verhältnis von Fiktion, Stimmung und Welterschließung aus mentalistischer und phänomenologischer Perspektive." Journal of Literary Theory 12, no. 2 (September 3, 2018): 300–320. http://dx.doi.org/10.1515/jlt-2018-0017.
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Abstract It is widely acknowledged that responses to fiction can be divided into two categories: emotions or moods. Research on the paradox of fiction, however, solely focused on emotional responses to fiction. This paper analyses the different potentials of the mood concept with regard to the paradox of fiction: its potential to avoid the paradox on the one hand and its potential to rise a new paradox of fiction, a paradox of fiction for moods, on the other. To this end, the paper distinguishes two different meanings of the everyday concept of mood and two different paradigms in the research on moods. The mood concept can designate not only affective states of an individual (moods1), but elusive, nuanced atmospheres of objects, places or situations (moods2). The mentalistic paradigm, widespread in psychology and analytic philosophy, generally assumes that moods are mental states with a certain quality of feeling (and physical symptoms). Moods2 are regarded by such approaches, if they discuss them, as a secondary phenomenon based on subjective perception. In contrast, the phenomenological paradigm focuses on moods2 and, if it accommodates moods1 as well, often postulates a characteristic connection between the two: moods1 reveal extra-individual atmospheres (moods2) that are assumed to exist in some ontologically robust sense. Therefore, moods1 can be said to have a world-disclosing function within the phenomenological paradigm. Researchers in the mentalistic paradigm deal, among other issues, with the difference of emotions and moods1. One way in which moods1 differ from emotions is that they lack an intentional object and it is for that reason that the concept of mood1, at first glance, seems to offer a solution to the paradox of fiction. The paradox of fiction presumes that we have emotions with regard to fictional objects. If it were possible to redescribe the alleged emotions as more subtle mood1 responses without clear intentional objects, this would undermine a central premise of the paradox and dissolve it. However, such a redescription seems not equally plausible for all cases discussed in the debate (e. g. the green slime case). Therefore, moods1 can only be one element of a more subtle ›phenomenology‹ of affective reactions towards fiction and the »paradox avoiding potential« of the mood concept is limited. The paradox creating potential of the mood concept emerges if one takes into account the outlined complex semantics of the concept »mood« and the postulated world-disclosing function of moods1. It seems possible to construct a new paradox, the paradox of fiction for moods: (a) Only real entities or representations of real entities can evoke moods1 with world-disclosing function (because this mood1 evocation is actually immersion in an atmosphere). (b) Many entities in fictions are not real. (c) Nevertheless, fictions can evoke moods1 with world-disclosing functions (e. g. with regard to places, situations) in the recipient. The paper argues that the outlined paradox can be dissolved by pointing out that the expression »moods1 with world-disclosing function« in sentence (a) means something different than in (c). While the expression in (a) relates to the idea of grasping an atmosphere (mood2) that somehow is »in the world«, it means acquiring a non-propositional form of knowledge, namely knowledge of what-it-is-like to be in a certain situation, in (c). The idea that it is possible to acquire knowledge of what-it-is-like by means of fiction has often been postulated in the research literature, but rarely been spelled out in greater detail. The paper argues that such an acquisition can occur, among other possibilities, on the basis of mood1 evocation, but that the conditions for the acquisition of knowledge of what-it-is-like by means of fiction are more demanding than under usual circumstances: A recipient of fiction can reasonably be said to acquire knowledge of what-it-is-like to be in a certain situation if the fictional representation evokes a mood1 which is characteristic of a situation S and the recipient understands this mood1 as an affective reaction to a situation of the type S. Please note that moods2 play no explanatory role in the second interpretation of »world-disclosing function«. Since assumption (a) and assumption (c) concern different world-disclosing functions or, in other words, different mechanisms of world-disclosure, there is no paradox. Although moods1 evoked by fictional representations (with some limitations pointed out in section 4) do not possess a world-disclosing function in the sense the phenomenological tradition postulated, it is possible to ascribe these moods1 a world-disclosing function, even within a non-phenomenological framework: They allow the recipient the acquisition of a knowledge of what-it-is-like to be in a certain situation or in a certain place. Ultimately, for the paradox of fiction for moods seems to hold what could be said about the classical paradox of fiction as well: Even if the paradox ultimately dissolves, its analysis can be instructive for related research fields like the debate on knowledge from fiction which takes moods rarely into account until now.
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Haryati, Isti. "ACTUALIZATION OF WOMEN’S ROLES IN BERTOLT BRECHT’S AND NANO RIANTIARNO’S PLAYS." LITERA 18, no. 3 (November 19, 2019): 326–42. http://dx.doi.org/10.21831/ltr.v18i3.27770.
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A literary work is not an object that stands by itself and offers the same view to each reader in each period, therefore literary works are always actualized and finally achieve a new existence. This study is aimed at describing (1) the actualization of women’s roles in Bertolt Brecht’s and Nano Riantiarno’s plays and (2) Nano Riantiarno’s horizons of expectation. The data sources were Brecht’s play Die Dreigroschenoperand Riantiarno’s play Opera Ikan Asin. The study was reception approach. Data analysis was performed by conducting a comparative analysis of the actualization of the women’s roles in the two plays and historical analysis to find Riantiarno’s horizons of expectation. The results show that the actualization of women’s roles appear in self-independence at work, sternness, and calmness in dealing with problems. Riantiarno’s horizons of expectation appear in his pre-experiences concerning women’s roles, implicit relationships with previous literary works on women’s roles, and opposition between fiction and reality, poetic and practical fuktion of language in the two plays. Riantiarno’s actualization of the women’s roles in Opera Ikan Asin is influenced by horizons of expectation and Zeitgeist (the soul of a different era).Keywords:women’s role, play, feminism, horizon of expectation, Zeitgeist
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Massie, Pascal. "Masks and the Space of Play." Research in Phenomenology 48, no. 1 (February 19, 2018): 119–46. http://dx.doi.org/10.1163/15691640-12341387.
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Abstract Masks are devices and symbols. In the first instance, they are artifacts that allow opposite poles to take each other’s place. They split the world into appearance and reality, manifest and repressed, sacred and profane. In this sense, they are dualistic. But by so doing they invert these terms. In this sense, they are dialectical. In the second instance, they exemplify doubt about people’s identities and the veracity of their words; they denote duplicity, inauthenticity, and hypocrisy. The conjunction of these two senses resides in the fact that masks are at the threshold between reality and fiction. Such a threshold makes possible the emergence of a space of play which asserts that the world does not express a determinate and final order but is infinitely open to the emergence of new, yet transient, forms of self-organization and open new spatiotemporal worlds.
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Nikolina, N. A. "The types of truncated derivatives in contemporary Russian speech." Russian language at school 82, no. 3 (May 21, 2021): 69–74. http://dx.doi.org/10.30515/0131-6141-2021-82-3-69-74.
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This article studies a highly productive way of Russian word formation — truncation. This method of word formation, considered to be the "youngest", plays an important role in the contemporary compressive word formation. The purpose of this article lies in identifying new trends in the area of truncation in the Russian speech of the early 21st century. The author reveals the structural types of truncation and determines their relationship in the contemporary Russian language. The largest group of truncated derivatives includes personal nouns; there are also other new subject groups of the truncated units noted. The results show that truncation in modern Russian speech is becoming more widespread than before and it begins to extend to other parts of speech besides nouns. The author pays attention to the interaction of truncation with the suffixation characteristic of contemporary Russian speech. The derivatives, formed by truncation, are different from univerbated nouns, which are formally attributed by adjectives, which are part of the substantive word formation; thus, a criterion for differentiating truncated univerbated words seems in order. The material for analysis includes modern fiction, texts from mass media, and oral recordings. Using them has helped in revealing the dynamics of truncation processes.
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Oatley, Keith, and Maja Djikic. "Psychology of Narrative Art." Review of General Psychology 22, no. 2 (June 2018): 161–68. http://dx.doi.org/10.1037/gpr0000113.
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Artistic narrative has been recognized in fictional genres such as poetry, plays, novels, short stories, and films. It occurs also in nonfictional genres such as essays and biographies. We review evidence on the empirical exploration of effects of narrative, principally fiction, on how it enables people to become more empathetic, on how foregrounded phrases encourage readers to recognize the significance of events as if for the first time in ways that tend to elicit emotion, and on how literary works can help people to change their own personalities. We then suggest 3 principles that characterize narrative art in psychological terms: a focus on emotion and empathy, a focus on character, and a basis of indirect communication.
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Phillips, John. "The Repressed Feminine: Nathalie Sarraute's Elle est là." Theatre Research International 23, no. 3 (1998): 275–82. http://dx.doi.org/10.1017/s0307883300020058.
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Nathalie Sarraute has written six plays over a period of some fifteen years (1967–82). Her latest play, Pour un oui ou pour un non, was first performed in 1982. Given their relative success, however, one is forced to wonder why she has not continued to write for the theatre (though, since 1982, she has published four major works of narrative, Enfance, Tu ne t'aimes pas, Ici and Ouvrez). When I put this question to Nathalie Sarraute in October 1996, at the Institut Français in London, she replied that she had ‘found more amusing things to do’. Her failure to answer the question directly perhaps suggests an unawareness of the real answer, at least at conscious levels. The theatre, an inescapably physical medium, which requires the bodily presence of men and women as gendered beings, was, in fact, never really suited to a writer who continually takes refuge from the physical and even the sexual, hi words. It seems plausible, then, to conjecture that Sarraute gave up writing for the theatre, because her radio plays had, by reason of their success, been translated onto the stage, and the author did not know how to deal with a medium that privileged the physical as opposed to the emotional and psychological dimensions of human relationships which had been her territory since Tropismes. The frequently impersonal voices of her fiction work well on radio, but less so on a live stage, upon which the actors are physically as well as audibly present: ‘Le person-nage de théâtre’, says Alain Robbe-Grillet, ‘est en scène, c'est sa première qualité: il est là.’ In Sarraute's theatre, however, this physical presence is no more than a kind of contingency, wholly superfluous to the action. The characters find themselves together for no particular reason and they hardly ever interact physically. The very lack of stage directions, which the author justifies on the grounds of textual purity, is itself indicative of an absence of movement, the main signifier of physical presence. Textual purity depends for Sarraute on words alone.
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Karambir, Mr. "Celebration of Liberal Values in Gurcharan Das’ Works of Drama and Fiction." Think India 22, no. 3 (October 16, 2019): 2032–42. http://dx.doi.org/10.26643/think-india.v22i3.8632.
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Gurcharan Das is a regular columnist for The Times of India and other national and international Newspapers and magazines. He is a versatile personality which has shown his remarkable talents in different genres of literature. Along with his maiden novel A Fine Family (1990), he has published three plays Larins Sahib (1968), Mira (1970) and 9 Jakhoo Hill (1996) and many non-fictional works such as India Unbound: From Independence to the Global Information Age (2000), The Elephant Paradigm: India Wrestles with Change (2002), The Difficulty of Being Good: On the Subtle Art of Dharma (2009) and India Grows at Night: A liberal case for a Strong State (2012).
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Handke, Ryszard. "Powieść SF uwalniająca się od politycznych serwitutów." Colloquia Humanistica, no. 1 (July 22, 2015): 209–36. http://dx.doi.org/10.11649/ch.2012.013.
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Science-Fiction Novel Liberates Itself from Political DuesThe present issue of "Colloquia Humanistica" contains Professor Ryszard Handke's two last essays, until now unpublished. They belong together and deal with the works of Stanisław Lem, namely with the creation of a sui generis dictionary of this outstanding sci-fi writer. Handke highlights the coming of a new age in the evolution of the genre, already foreshadowed in Lem's early novels. This new sci-fi abandons uncritical beliefs in the power of science leading man to the conquest of cosmos and to a perfection of Earth's civilization. In Handke's analysis, in his first essay discussing "Astronauts" and "Magellan's Nebula," and in the second devoted to "Eden," Lem's evolution starts from a blind faith in the Marxist progress of civilization based on materialistic technocracy and moves towards an increasingly open polemic with this point of view, clearly demonstrating the beginning of doubts or of caution against an excessive faith in progress. The author of the essays is principally interested in the linguistic layer of the novels, the sci-fi terminology designating phenomena, objects or equipments from the imagined future. Handke analyzes the world reflected in the language and attempts to assemble a corpus invented by Lem in order to create an illusion of the future. The language seen from the perspective of the two texts remains a meaningful platform, but not a transparent one. This is where the space of the author's game with the readers begins, the space of inter-textual, cultural references, where the mentioned earlier naiveté of the older science fiction breaks down and an element of doubt, surprise, or irony surfaces frequently. The use of concrete linguistic means is conditioned by the creation of a world displaying a clearly determined character that borrows its particularities from the linguistic image of a fictional quasi-reality. It also results from the applied technique of story telling, from ways of verifying narration and from mechanisms of the reader's understanding of the meaning of words as building blocks of the presented world. The first novel discussed by Handke – "Astronauts" (1951), remains in the essayist's view still in the optimistic current of science fiction; the "fantastic" terminology, while already foreshadowing Lem's later plays with words, is deeply rooted in the traditional perception of the technical world. In the later novel – "Magellan's Nebula" – the focus of interest veers to how to construct with words a world in extreme conditions, i. e. when mimetic support in creation and in spelling out relations between the linguistic signs and what they designate, is curtailed. That is why, the attention is not centered on the spaces where the author takes advantage of the possibility of referring to phenomena and names known to the broadcaster and to the receiver in the real reality. The narrational situation constructed in the novel relies also on the premise that not much had changed in these fields, despite the passage of centuries, because human nature remains significantly the same. Both novels, while a system of "fantastic" concepts has been imposed on the presented world, reflect in fact current socio-political problems that cannot be grasped outside of the context provided by the communist faith in progress. "Eden" on the other hand, shows Lem's wavering in his faith in progress. In the novel, Earth people face another civilization; the author of the essay compares this narrational situation to the building of utopia, only situated in the Cosmos. The linguistic layer here resembles Lem's mature works, where irony in the creation of words keeps the readers at a distance when they view the displayed world and makes them ponder the author's intention.
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Berkovets, Vira. "Functional field of phonetic word in the modern Ukrainian." Ukrainian Linguistics, no. 47 (2017): 103–11. http://dx.doi.org/10.17721/um/47(2017).103-111.
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This study is devoted to the identification and description of areas of functioning of phonetic words (rhythmical structures, accent-rhythmical structures, rhythmical groups, tacts) in modern Ukrainian. The article highlights the features of using of phonetic words as means of language play in the colloquial, artistic, journalistic (media) functional styles. Also there were investigated the figurative and expressive potential of phonetic words in fiction; the derivational specificity of such words in aspects of general language and occasional derivation in different functional styles in modern Ukrainian; the functioning of phonetic words as verbal attractants in the modern Ukrainian advertising text. Special attention was paid to role of phonetic words in the occurrence of possible communicative misunderstandings in oral communication by one language or several languages. Finally, we examined the use of phonetic words in the structure of hashtags and memes of different thematic focuses (in particular with the political, economic, promotional, informational and cultural orientation) in modern Ukrainian Internet discourse.
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GOODIN, ROBERT E. "Review Article: Communities of Enlightenment." British Journal of Political Science 28, no. 3 (July 1998): 531–58. http://dx.doi.org/10.1017/s0007123498000234.
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The Enlightenment model of social life is a seductive one. It depicts rational (or anyway reasoning) individuals choosing goals and plans and projects for themselves, with those autonomous individuals then coming together, of their own volition, in pursuit of shared interests and common goals. This founding fiction of the modern social world is well captured in the words of one Renaissance writer, who has God saying to Adam:
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Sutton, Timothy. "Avatar, Tar Sands, and Dad." International Review of Qualitative Research 11, no. 2 (May 2018): 178–97. http://dx.doi.org/10.1525/irqr.2018.11.2.178.
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This is an (auto)ethnographic performance inspired by a conversation with my father while leaving the theater after watching Avatar back in 2009. It is intended to be performed as readers’ theater. In it, I examine the role anthropology plays in the performance of imperialist nostalgia across the stories of James Cameron's film Avatar, Ursula K. Le Guin's novella The Word for World Is Forest, and Theodora Kroeber's Ishi in Two Worlds: A Biography of the Last Wild Indian in North America. I see a performance of alternative possibilities in Le Guin's utopian speculative fiction and in recent Indigenous-led activism opposing megaresource extraction projects such as Alberta's tar sands and the pipelines that snake out from it.
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Ravetti, Graciela, and Eulálio Marques Borges. "A Río Fugitivo de Edmundo Paz Soldán: uma cidade distópica? / The Río Fugitivo of Edmundo Paz Soldán: A Dystopian City?" Caligrama: Revista de Estudos Românicos 25, no. 1 (April 30, 2020): 135. http://dx.doi.org/10.17851/2238-3824.25.1.135-150.
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Resumo: Este é um estudo sobre dois romances do escritor boliviano Edmundo Paz Soldán, Sueños Digitales (2000) e El delirio de Turing (2005 [2003]), destacando os tópicos da (1) urbe dividida entre um centro urbano caótico e uma periferia escura e (2) um governo federal com ares totalitários, aspectos pouco abordados até então pela crítica literária especializada. Objetivamos mostrar como a fictícia cidade de Río Fugitivo, onde transcorrem as histórias de Sueños Digitales e El delirio de Turing, funciona como uma espécie de microcosmo dos centros urbanos latino-americanos que conhecemos ao incorporar, parcialmente, em sua construção e em sua dimensão, características pertencentes a um subgênero da ficção científica contemporânea conhecido como cyberpunk. De acordo com nossa perspectiva, não se trataria de obras de ficção científica, mas sim com ficção científica, – gênero pelo qual o autor sempre demonstrou interesse.Palavras-chave: ficção científica; cyberpunk; distopia; Río Fugitivo; Paz Soldán.Abstract: This is a study of two novels by Bolivian writer Edmundo Paz Soldán, Sueños Digitales (2000) and El delirio de Turing (2005 [2003]), underlining the topics of (1) a city divided between a chaotic urban centre and a dark suburb and (2) a federal government leaning towards totalitarianism, elements that are yet to be widely explored by literary critics. The aim is to point out how the fictional city of Río Fugitivo, where the narratives of Sueños Digitales and El delirio de Turing are set, plays the role of a microcosm of the Latin American centres we know by partially incorporating, in the construction and dimension of the novels, characteristics that belong to the subgenre of contemporary science fiction known as cyberpunk. From this point of view, the books studied here would not be considered science fiction works but works containing the genre, which has always interested Soldán.Keywords: science fiction; Cyberpunk; dystopia; Río Fugitivo; Paz Soldán.
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Sağıroğlu, Rana. "A Compact Embodiment of Pluralities and Denial of Origins: Atwood’s The Year of The Flood." European Journal of Multidisciplinary Studies 1, no. 3 (April 30, 2016): 141. http://dx.doi.org/10.26417/ejms.v1i3.p141-146.
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Margaret Atwood, one of the most spectacular authors of postmodern movement, achieved to unite debatable and in demand critical points of 21st century such as science fiction, postmodernism and ecocriticism in the novel The Year of The Flood written in 2009. The novel could be regarded as an ecocritical manifesto and a dystopic mirror against today’s degenerated world, tending to a superficial base to keep the already order in use, by moving away from the fundamental solution of all humanity: nature. Although Atwood does not want her works to be called science fiction, it is obvious that science fiction plays an introductory role and gives the novel a ground explaining all ‘why’ questions of the novel. However, Atwood is not unjust while claiming that her works are not science fiction because of the inevitable rapid change of 21st century world becoming addicted to technology, especially Internet. It is easily observed by the reader that what she fictionalises throughout the novel is quite close to possibility, and the world may witness in the near future what she creates in the novel as science fiction. Additionally, postmodernism serves to the novel as the answerer of ‘how’ questions: How the world embraces pluralities, how heterogeneous social order is needed, and how impossible to run the world by dichotomies of patriarchal social order anymore. And lastly, ecocriticism gives the answers of ‘why’ questions of the novel: Why humanity is in chaos, why humanity has organized the world according to its own needs as if there were no living creatures apart from humanity. Therefore, The Year of The Flood meets the reader as a compact embodiment of science fiction, postmodernism and ecocriticism not only with its theme, but also with its narrative techniques.
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Handke, Ryszard. "Narzędzia językowe w sytuacji ekstremalnej. Stanisława Lema fantastyczne światy ze słów." Colloquia Humanistica, no. 1 (July 22, 2015): 159–207. http://dx.doi.org/10.11649/ch.2012.012.
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Linguistic Tools in an Extreme Situation. Stanisław Lem’s Fantastic Worlds Built with WordsThe present issue of "Colloquia Humanistica" contains Professor Ryszard Handke's two last essays, until now unpublished. They belong together and deal with the works of Stanisław Lem, namely with the creation of a sui generis dictionary of this outstanding sci-fi writer. Handke highlights the coming of a new age in the evolution of the genre, already foreshadowed in Lem's early novels. This new sci-fi abandons uncritical beliefs in the power of science leading man to the conquest of cosmos and to a perfection of Earth's civilization. In Handke's analysis, in his first essay discussing "Astronauts" and "Magellan's Nebula," and in the second devoted to "Eden," Lem's evolution starts from a blind faith in the Marxist progress of civilization based on materialistic technocracy and moves towards an increasingly open polemic with this point of view, clearly demonstrating the beginning of doubts or of caution against an excessive faith in progress. The author of the essays is principally interested in the linguistic layer of the novels, the sci-fi terminology designating phenomena, objects or equipments from the imagined future. Handke analyzes the world reflected in the language and attempts to assemble a corpus invented by Lem in order to create an illusion of the future. The language seen from the perspective of the two texts remains a meaningful platform, but not a transparent one. This is where the space of the author's game with the readers begins, the space of inter-textual, cultural references, where the mentioned earlier naiveté of the older science fiction breaks down and an element of doubt, surprise, or irony surfaces frequently. The use of concrete linguistic means is conditioned by the creation of a world displaying a clearly determined character that borrows its particularities from the linguistic image of a fictional quasi-reality. It also results from the applied technique of story telling, from ways of verifying narration and from mechanisms of the reader's understanding of the meaning of words as building blocks of the presented world. The first novel discussed by Handke – "Astronauts" (1951), remains in the essayist's view still in the optimistic current of science fiction; the "fantastic" terminology, while already foreshadowing Lem's later plays with words, is deeply rooted in the traditional perception of the technical world. In the later novel – "Magellan's Nebula" – the focus of interest veers to how to construct with words a world in extreme conditions, i. e. when mimetic support in creation and in spelling out relations between the linguistic signs and what they designate, is curtailed. That is why, the attention is not centered on the spaces where the author takes advantage of the possibility of referring to phenomena and names known to the broadcaster and to the receiver in the real reality. The narrational situation constructed in the novel relies also on the premise that not much had changed in these fields, despite the passage of centuries, because human nature remains significantly the same. Both novels, while a system of "fantastic" concepts has been imposed on the presented world, reflect in fact current socio-political problems that cannot be grasped outside of the context provided by the communist faith in progress. "Eden" on the other hand, shows Lem's wavering in his faith in progress. In the novel, Earth people face another civilization; the author of the essay compares this narrational situation to the building of utopia, only situated in the Cosmos. The linguistic layer here resembles Lem's mature works, where irony in the creation of words keeps the readers at a distance when they view the displayed world and makes them ponder the author's intention.
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Dawsey, J. "The Literary Unity of Luke-Acts: Questions of Style – a Task for Literary Critics." New Testament Studies 35, no. 1 (January 1989): 48–66. http://dx.doi.org/10.1017/s0028688500024498.
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Joseph Tyson's The Death of Jesus in Luke-Acts and Robert Tannehill's The Narrative Unity of Luke-Acts, published in 1986, are good examples of the interpretive wealth being mined by scholars who are adopting literary-critical methods for approaching the Lukan writings. What most distinguishes these critics' approaches from older, more familiar ones is the claim that the Bible's historical narratives are imaginative re-enactments of history – thus, in form, more akin to fiction than to theology, biography, or history. Robert Alter called the Biblical stories ‘historicized fiction’, meaning in our case that the author of Luke and Acts employed the artifices of fiction-writing, among others, supplying feeling and motives and creating speeches and dialogue for his characters. Professors Tyson and Tannehill, and other literary scholars like them, are helping us better discern how these techniques were used in Luke and Acts, thus opening new windows to the characters, the way that the author ascribes intentions to them, the plot, themes, nuances, points of view, uses of irony, and word-plays and associations in the writings.
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ZHUNDIBAYEVA, Aray, and Meyirgul MURALBEK. "Genre of non-fiction works of Serik Abikenovich and methods of teaching it." ОҚМПУ ХАБАРШЫСЫ – ВЕСТНИК ЮКГПУ 27, no. 1 (March 2021): 76–84. http://dx.doi.org/10.47751/skspu-1937-0029.
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The article examines non-fiction f Serik Abikenuly and considers of his work in terms of a time of events in a plot, characters, a historical reality of toponymic names and teaching of his written works. The author of the article relied on the critical opinions of scientists-researchers of the Romance genre, demonstrating an artistic solution and a reality of life. In the analysis of his written works, it was proved that the place, time of the event, the existence of characters in life was proved by the example of the works of other scientists and writers. The article considers S. Abikenuly's documentary prose that are contributed in reviving of historical figures, family names, secret legends of the kazakh steppe, heroes of the early xx century, the role of knowledge of the remnants of the past in the formation of historical consciousness. Teaching of a written work based on historical data plays an important role in the formation of historical knowledge and national identity of learners. Therefore, in addition to the analysis of literature, the article shows the methods of teaching it.
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Forés Rossell, Maria Consuelo. "Shakespeare for Revolution: From Canon to Activism in V for Vendetta and Sons of Anarchy." Revista Alicantina de Estudios Ingleses, no. 33 (December 23, 2020): 85. http://dx.doi.org/10.14198/raei.2020.33.07.
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Shakespeare’s works have long been a place of cultural and political struggles, and continues to be so. Twenty-first century non-canonical fiction is appropriating Shakespeare for activist purposes. The present article will analyze this phenomenon, applying the concept of cultural capital, the theories of cultural materialism, intertextuality, and appropriation in relation to popular culture, in order to study how Shakespeare’s plays are being appropriated from more radically progressive positions, and resituated in alternative contexts. Among the plethora of Shakespearean adaptations of the last decades, non-canonical appropriations in particular offer brand new interpretations of previously assumed ideas about Shakespeare’s works, popularizing the playwright in unprecedented ambits and culturally diverse social spaces, while giving voice to the marginalized. Thus, through entertainment, non-canonical fiction products such as V for Vendetta and Sons of Anarchy recycle the Shakespearean legacy from a critical point of view, while using it as a political weapon for cultural activism, helping to make people aware of social inequalities and to inspire them to adopt a critical stance towards them, as free and equal citizens.
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Collombier-Lakeman, Pauline. "Prophesying Revolution: The Example of 'The Battle of Moy' (1883)." Review of Irish Studies in Europe 2, no. 2 (October 24, 2018): 55–69. http://dx.doi.org/10.32803/rise.v2i2.1885.
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In Voices Prophesying War: Future Wars 1763-3749 (1992), I. F Clarke contends that 1871 inaugurated the emergence of a new type of predictive literature, which, in the next decades, became more ‘violent’, ‘vindictive’, and often ‘nationalistic’. The 1916 Rising was prepared in secret but the months and years immediately preceding it witnessed the publication of several well-known works of fiction clearly anticipating the armed revolution that was to come. Patrick Pearse’s plays such as The King (1914) or The Master (1915) have been interpreted as texts exploring the notions of redemptive self-sacrifice and violence as a means to achieve national independence. Similarly, The Revolutionist, a slightly earlier play by Terence MacSwiney (1912), may be read as a rejection of mere Home Rule and a plea for action and self-sacrifice. However, the idea that only an armed revolution could work as a viable solution to obtain Ireland’s independence was clearly toyed with decades earlier, notably in the anonymously published The Battle of Moy (1883). This article will examine this lesser known text in order to show how this example of 19th-century nationalist science fiction might have fostered the idea that only violent action and war could turn Ireland into a nation.
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Korniienko, Oksana. "MODELING OF POSSIBLE WORLDS IN SIGIZMUND KRZHIZHANOVSKY’S PROSE." Polish Studies of Kyiv, no. 35 (2019): 186–92. http://dx.doi.org/10.17721/psk.2019.35.186-192.
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Modern researchers consider the oeuvre of Sigizmund Dominikovich Krzhizhanovsky, the Russian-speaking writer of Polish origin, to be a “literary phenomenon” and a “literary discovery” of the twentieth century. Publications, translations into many world languages and active scholar familiarization with the writer’s heritage begins in the end of XX – at the beginning of XXI centuries. The article examines the Sigizmund Krzhizhanovsky’s prose that presents the original artistic heterogeneous universe, where a “multidimensional world” becomes the structure creating model. In the Krzhizhanovsky’s prose a word-creative experiment plays an important role in the creation of many interconnected worlds. The number of writer’s occasional forms even does not undergo an approximate estimation. The second important factor of creating a model of “multidimensional world” is defamiliarization (by Victor Shklovsky) as a phenomenological and gnoseological principle and method. The writer’s artistic consciousness is based on the phenomenon of understanding, connected with the change of vision and understanding, which pulls objects or things out of usual contexts of recognition and re-describing them as a “new discovered” phenomena. Due to this the usual appears unusual, strange. Krzhizhanovsky creates conditional, metaphysical, phantasmagorical and paradoxical worlds. In these strange worlds boundaries of Real and Irreal are blurred, the fiction itself acquires a real image, and reality emerges fantastic. The “logic” of alogism and paradoxes often functions in these worlds. In the artistic language the writer uses the strategy of “morbid” nomination that creatively enriches speech resources and refreshes the literary thesaurus. In the Krzhizhanovsky’s artistic world dominant narrative and pictorial strategies are also based on the next methods: the reviving of things, phenomena and abstract notions, thoughts and words, etc.; materialisation and narrative implementation of metaphors; the use of grotesque. An important role is played by the saturated intertextuality and game modus at different levels: from language and speech to codification of culture. In such a way the author’s model of Philosophy of creativity and philosophy of culture as an endless polyphonic polylog, continuous creative process and boundless creative imagination is realized.
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Price, Graham. "Quite an Other Thing: Recent Texts in ‘Irish Queer Studies’Books Reviewed: Caroline Magennis and Raymond Mullen (eds). Irish Masculinities: Reflections on Literature and Culture. Dublin: Irish Academic Press, 2011. x+194 pages. £50.00 GBP.Aintzane Legaretta Mentxaka, Kate O'Brien and the Fiction of Identity: Sex, Art and Politics in Mary Lavelle and Other Writings. North Carolina and London: McFarland and Company Inc, 2011. 290 pages. $45.00 USD.Fintan Walsh (ed), Queer Notions: New Plays and Performances from Ireland. Cork: Cork UP, 2010. 276 pages. $55.00 USD.Éibhear Walshe, Oscar's Shadow: Wilde, Homosexuality and Modern Ireland. Cork: Cork University Press, 2011. xi+149 pages. €39.00 EUR." Irish University Review 43, no. 1 (May 2013): 222–33. http://dx.doi.org/10.3366/iur.2013.0065.
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This essay shall examine the relationship that exists between Irish studies and queer theory via a consideration of three recently published works, both academic and literary. The texts that shall be reviewed are: Eibhear Walshe's Oscar's Shadow: Wilde, Homosexuality and Modern Ireland, Aintzane Legarreta Mentxaka's Kate O'Brien and the Fiction of Identity: Sex, Art and Politics in Mary Lavelle and Other Writings, and the new collection of plays, edited by Fintan Walshe, entitled Queer Notions. The association between Irishness and otherness (a connection explicitly stated by Oscar Wilde) means that the shadow of queerness haunts Ireland and Irish studies. The works being examined in this essay illuminate some of the forms (among many) ‘queer Irish studies’ can take.
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López-Rúa, Paula. "The Subjugation of Women through Lexical Innovation in Margaret Atwood’s The Handmaid’s Tale." Feminismo/s, no. 38 (July 13, 2021): 23. http://dx.doi.org/10.14198/fem.2021.38.02.
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Given the importance of novel formations in science and speculative fiction, the aim of this paper is to analyse a selection of morphosemantic and semantic neologisms that occur in the feminist dystopia The Handmaid’s Tale (1985), namely those items more closely connected with women’s lives. These items are gathered, classified and discussed by resorting to the tools provided by Morphology, Lexical Semantics, Onomastics and Women’s Studies. Therefore, the paper explores how new names for people (Econowives, Offred), activities (Particicution), artifacts (Birthmobile) and places (the Colonies) play a part in the linguistic task of female subjugation. It shows how in a fictional republic where gender roles and religious totalitarianism are taken to extremes, the forms and meanings of words are manipulated to enhance power relations and gender inequality, impose an orthodox frame of mind (comply with the system), and avoid uncomfortable truths. Neologisms provide a sense of authenticity in the narrative and show how language evolves to satisfy various needs, not only pragmatic, but also social, ideological and euphemistic.
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Cardoso, André Cabral de Almeida. "Precarious humanity: the double in dystopian science fiction." Gragoatá 23, no. 47 (December 29, 2018): 888. http://dx.doi.org/10.22409/gragoata.2018n47a1211.
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The double is a common feature in fantastic fiction, and it plays a prominent part in the Gothic revival of the late nineteenth century. It questions the notion of a coherent identity by proposing the idea of a fragmented self that is at the same time familiar and frighteningly other. On the other hand, the double is also a way of representing the tensions of life in large urban centers. Although it is more usually associated with the fantastic, the motif of the double has spread to other fictional genres, including science fiction, a genre also concerned with the investigation of identity and the nature of the human. The aim of this article is to discuss the representation of the double in contemporary science fiction, more particularly in its dystopian mode, where the issue of identity acquires a special relevance, since dystopias focus on the troubled relation between individual and society. Works such as Greg Egan’s short story “Learning to Be Me”; White Christmas, an episode from the television series Black Mirror; Kazuo Ishiguro’s novel Never Let Me Go; and the film Moon, directed by Duncan Jones, will be briefly examined in order to trace the ways the figure of the double has been rearticulated in dystopian science fiction as a means to address new concerns about personal identity and the position of the individual in society.------------------------------------------------------------------------------------------HUMANIDADE PRECÁRIA: O DUPLO NA FICÇÃO CIENTÍFICA DISTÓPICAO duplo é um elemento comum na literatura fantástica e desempenha um papel importante na retomada do gótico no final do século XIX. Ele questiona a noção de uma identidade coesa ao propor a ideia de um “eu” fragmentado que é ao mesmo tempo familiar e assustadoramente outro. Por outro lado, o duplo também é uma maneira de representar as tensões da vida nos grandes centros urbanos. Apesar de ser costumeiramente associado ao fantástico, o motivo do duplo se espalhou para outros gêneros, incluindo a ficção científica, gênero também preocupado com a investigação da identidade e da natureza do humano. O objetivo deste artigo é discutir a representação do duplo na ficção científica contemporânea, mais especificamente na sua modalidade distópica, onde a questão da identidade adquire uma relevância especial, uma vez que a distopia tem como foco a relação atribulada entre indivíduo e sociedade. Obras como o conto “Learning to Be Me”, de Greg Egan; White Chistmas, episódio da série de televisão Black Mirror; o romance Never Let Me Go, de Kazuo Ishiguro; e o filme Moon, dirigido por Duncan Jones, serão brevemente analisados a fim de rastrear as maneiras como a figuro do duplo é rearticulada na ficção científica distópica como um meio de trabalhar novas inquietações a respeito da identidade pessoal e da posição do indivíduo na sociedade.---Original em inglês.
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Wolting, Stephan. "„Jedem seine Geschichte“ – Reflexionen zu Storytelling und Kreativem-Autobiographischem-Literarischem Schreiben „Each his story“." Glottodidactica. An International Journal of Applied Linguistics 46, no. 1 (July 29, 2019): 237–53. http://dx.doi.org/10.14746/gl.2019.46.1.14.
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The aim of the text is to discuss some issues related to the academic principles ofautobiographical writing and practical workshops aiming to improve intercultural, trans- and cross-cultural competences. We have to keep in mind that the significance of terms as narration, telling, storytelling particularly with regard to different academic contexts is growing. The study is based on different tried and tested writing exercises, on writing plays as flash-fiction, writing based on a model, so as to motivate and inspire the students, to produce their own creative, autobiographical and, in a broader sense, “literary works” and to take this into account for foreign language teaching
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Pynsent, Robert B. "Václav Havel: A Heart in the Right Place." East European Politics and Societies: and Cultures 32, no. 2 (February 28, 2018): 334–52. http://dx.doi.org/10.1177/0888325417752252.
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The author looks at Havel’s The Power of the Powerless in the context of Czech twentieth-century political fiction and the criticism that his writing and political activity has received. He also introduces other works, essays and plays, by the author that aid the assessment of statements made in The Power of the Powerless. The last quarter of the article discusses Havel and New Age ideas and endeavors to look at The Power of the Powerless in that light, but also to understand how a person who argued most of his life against the elements of ochlocracy in his own country could in spiritual matters become something of an ochlocrat himself.
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Hart, Jonathan Locke. "Shakespeare in Theory and Practice." Interlitteraria 24, no. 1 (August 13, 2019): 30–53. http://dx.doi.org/10.12697/il.2019.24.1.4.
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The article is about theory and practice in Shakespeare, but while he used the word “practice,” he never employed the term “theory.” After discussing practice a little, I shall examine how Shakespeare refers to poetry and poets, philosophy and philosophers with some brief connections with art, theatre, music, painting and mimesis. Shakespeare showed no inclination for criticism or theory in essays or non-fiction prose, but, as can be seen, for instance, in Hamlet’s instructions to the players, his work, poetry and plays, contain if not a theory of art, theatre and poetry at least some representations of and reflections on such matters by speakers, narrators and characters.
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Nasriddinov, Dilshod Azamkulovich. "SYSTEM OF IM STEM OF IMAGES IN GEORGE R.R. M GES IN GEORGE R.R. MARTIN’S F TIN’S FANTASY WORLD." Scientific Reports of Bukhara State University 4, no. 6 (December 29, 2020): 200–206. http://dx.doi.org/10.52297/2181-1466/2020/4/6/11.
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Abstract. The emergence of different genres and trends in literature has led to the creation of various unique works. Thus, creating a novel and accepting it by a reader with positive thoughts demonstrates the skill of the writer. The internal structure of the work plays an important role in it. This scientific article contains scientifically grounded ideas about the genre of the play, its internal structure, a life of author, the secondary world, the system of images in the work and etc. The scientific article is divided into four parts, and we present them on a short explanation. Introduction. There are many genres and trends in world literature and they have led to the birth of rare works. There are so many books that the readers see themselves in another world when they read them. The creation of such works requires a high level of writing skills. In this section, there is expressed opinions about American fantasy and science fiction writer George R.R. Martin and the growing interest of the reader to the novels that he created. Methods. This section presents scientific ideas about the genre of the author's work and the essence of its content
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Ogunleye, Foluke. "A Male-Centric Modification of History; Efunsetan Aniwura Revisited." History in Africa 31 (2004): 303–18. http://dx.doi.org/10.1017/s0361541300003508.
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Historical drama can be described as a form of drama which purports to reflect or represent historical proceedings. Since time immemorial writers have combined fiction and history in creative works. Lawrence Langner has ascribed the popularity of historical drama to the desire of the theatergoer to spend an evening in the company of kings, queens, and other historical personages; the opportunity to become familiar with far greater events than those which take place in the lives of ordinary people; and that historical plays recreate great deeds done by great personages in the past. Historical facts are then creatively adapted and made available in play form to the audience. Adaptation has been defined as “the rewriting of a work from its original form to fit it for another medium … The term implies an attempt to retain the characters, actions, and as much as possible of the language and tone of the original…” The history play is also defined as “any drama whose time setting is in some period earlier than that in which it was written. We can also go further to describe the history play as one “that reconstructs a personage, a series of events, a movement, or the spirit of a past age and pays the debt of serious scholarship to the facts of the age being recreated.Judging from the foregoing, Akinwunmi Isola's play, Efunsetan Aniwura falls into the category of historical drama, treating as it does the story of the eponymous heroine who was the second Iyalode (queen of women) of Ibadan and who died on 30 June 1874. Prominent themes in Yoruba historical plays include war, conflict, and class struggle. Olu Obafemi has declared that the dramatization of the history, myth, and legends of the Yoruba community forms the bulk of the themes of Yoruba drama. These factors are vividly portrayed in Akinwunmi Isola's plays. Akinwunmi Isola is one of the most prolific playwrights who use their mother tongue to write plays in Nigeria. He is a Professor of Yoruba language and he uses the Yoruba language in writing his plays despite the fact that he is proficient in English and French languages.
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Mityagina, Vera, and Irina Volkova. "Localization in translation theory and practice: historical and cultural view (the case of fiction adaptation)." SHS Web of Conferences 69 (2019): 00129. http://dx.doi.org/10.1051/shsconf/20196900129.
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The paper deals with the concept of localization and historical prerequisites of its use within the field of translation studies. We show that the sphere of localization techniques use is not limited by computer-mediated products but spreads on purely linguistic procedures of text adaptation as well. Since today there is no consensus among researchers and translators about the status of localization in the modern translation studies, we make an attempt to clarify the role and relevance of this term for the theory and practice of translation using the examples of fiction adaptation. The research is based on the material of a number of original and translated poetry works, including plays by W. Shakespeare and poems by Robert Burns, Ivan Krylov and Walter Scott. It is shown that the techniques of linguocultural adaptation used by translators in the 18th – 19th centuries are in fact those peculiar of the modern localization process. This fact proves the terminological value of the concept under study as the one denoting a certain type of translation activity which implies communicative equivalence and vague ties between the two texts. The considered examples of free translation of fiction prove that the process of localization is conditioned by literary and translational traditions, in particular, by the conception of free translation, which focused on the popularization of foreign works and a given ideological impact.
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Varlamova, Anna-Saidyyna Vasil'evna. "The role of interlinear in literary translation: syntactic aspect (on the example of the novel by E. P. Neimokhov)." Litera, no. 12 (December 2020): 192–202. http://dx.doi.org/10.25136/2409-8698.2020.12.34275.
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The language of fiction literature, language of the classics of national literature, prominent prose writers is the primary source for studying literary language. This article examines the role of interlinear in literary translation and the translation equivalents of complex sentences in the Yakut and Russian languages on the example of the novel “Alampa” by Egor Petrovich Neimokhov in two volumes. The subject of this research is complex sentences in the Yakut and Russian languages. Special attention is given to finding equivalents in translation of complex sentences in the Yakut and Russian languages on the syntactic level language, as well as to determination of the role of interlinear in fiction literature. Yakut linguistics has started to study the stylistics of Yakut language, while the lexical, morphological, and syntactic stylistics is in its inception stage. The works of researchers dedicated to the syntax of Yakut language cover the questions of syntactic transformations using the example of attributive constructions (Vasilieva, 2002) and syntactic transformations of one-member sentences (Atakova, 2007). There are no special works dedicated to the analysis of complex sentences in fiction texts in the Yakut-Russian translation. This raises the need for studying the equivalents of complex sentences in interlinear translation, and its role in literary translation. The following conclusions were made: 1) the content of complex sentences in the Russian language usually correspond to the such in the Yakut language, although they differ significantly in structure; 2) in both languages, the semantic meanings of complex sentences are expressed through various means that reflect the peculiarities of non-cognate languages, however, separate equivalents are determined among such constructions; 3) in interlinear and literary translation, complex sentences of the Yakut text are preserved in the Russian language for the most part. Thus, interlinear translation plays the role of intermediary translation and directly affects the translation result.
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Vidart-Delgado, Maria. "Emerging in play: Collectives, ownership, and everyday rules in a low-income neighborhood in Boston." Social Science Information 55, no. 3 (July 9, 2016): 321–36. http://dx.doi.org/10.1177/0539018416639159.
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Play in public space pauses the everyday and allows for fictional collective worlds to emerge. In this article I focus on the unintended ‘frictions’ triggered by these collective fictions. When players inhabit these fantastical worlds, they tend to become more aware of the invisible rules of ownership and property that shape their everyday. This article questions play as an open-ended modality of emergence. I argue that these fictions are ephemeral instances of collective awareness, and by definition preclude sustained forms of collective action to enact long-lasting, structural change; yet they are potentially transformative. I draw on my work as co-founder of Department of Play, a Boston-based interdisciplinary group that works at the intersection of art, urban theory and ethnography. I reflect on the organization and implementation of Boxtopia, a recent play project in a low-income neighborhood of Boston that sits along a ‘development corridor’.
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Rheingold, Hugh M. "Possibilities Lost: Transcendental Declarations of Independence in Hawthorne's The Blithedale Romance." Prospects 26 (October 2001): 61–89. http://dx.doi.org/10.1017/s0361233300000879.
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The Blithedale Romance occupies a unique position in the Haw-thorneian corpus for at least two reasons: Hawthorne's use of a first-person narrator and his decision to base, albeit loosely, the fictional Blithedale on his experiences as a resident at Brook Farm, an actual Utopian community founded by the transcendentalist minister George Ripley in 1841. If The Blithedale Romance constitutes a new point of departure for Hawthorne's fictional project, it is nevertheless a point of departure that Hawthorne, in particular in his prefaces, had contemplated all along. Hawthorne's fidelity to a new kind of fiction that more closely approximates lived experience would seem to be a betrayal of his notion of romance, which does not, like the novel, aim to be faithful to “the probable and ordinary course of man's experience,” but it is part and parcel of Hawthorne's anxieties about the transgressions of representation, transgressions peculiar to the kind of fictional project Hawthorne attempts to prosecute (Seven Gables, 1). While Hawthorne's preface to The Blithedale Romance celebrates his romances as “a theatre, a little removed from the highway of ordinary travel, where the creatures of his brain may play their phan-tasmagorical antics (38), his preface to The House of the Seven Gables warns that romance runs the risk of sinning unpardonably; that it commits, in other words, a “literary crime” (1). Our concern with Hawthorne as a writer seems all the more urgent, indeed necessary, given the connections Hawthorne seeks to establish between himself and his self-confessed minor poet and alter ego Miles Coverdale.
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Kolarič, Jožef. "Billy Woods’s Literary Intertexts." Text Matters, no. 10 (November 24, 2020): 182–93. http://dx.doi.org/10.18778/2083-2931.10.11.
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While—like all artistic forms—it allows for deviation from this standard rule, rap is heavily reliant on building blocks of sixteen bars and a refrain. In addition, rhyme plays a prominent role in structuring rap, which is why the form is also colloquially referred to as “rhyming.” In view of this, Billy Woods’s record Today, I Wrote Nothing was a considerable departure from the existing rap norm. On the record, Woods stylistically adapted a collection of works by Russian absurdist writer Daniil Kharms, which was also called Today, I Wrote Nothing. Kharms was known for writing short prose without any formal structure. Most of his stories deal with absurd situations and slapstick humour. The structure of the fragmented fiction is adapted into rap on Woods’s record. The long rap verses are replaced by short songs without any specific narrative. The record maintains the non-structure of Kharms’s writing, as well as its absurdity, but it abandons any semblance of traditional rap. The second important stylistic and structural choice made in Woods’s record was the integration of aspects of Flannery O’Connor’s writing, particularly its humour and darkness. The article will focus on how Billy Woods integrates intertextuality into his lyrics to give the songs additional layers of meaning.
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Allen-Paisant, Jason. "Reading Wilson Harris with Gilles Deleuze: Carnival, or the novel as theatrical space." Journal of Commonwealth Literature 55, no. 2 (May 4, 2018): 294–308. http://dx.doi.org/10.1177/0021989418767492.
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This article is an attempt at reading Wilson Harris with Gilles Deleuze, considering how the latter’s writings on the image might produce a fresh understanding of Harris’s art of fiction. To do this, I highlight the interest that both Harris and Deleuze have in the theatre as a medium for illustrating their conception of the image in language and thought. Discussing mainly the novel Carnival, I show how Harris assimilates narrative to the theatrical medium itself as both a concrete and abstract space of spontaneous multiplicity, and relate this to Deleuze’s understanding of the image and of the text as objects of movement and of becoming. I also relate Harris’s art of fiction to Deleuze’s critique of conventional mimesis and its subject/object binarism, showing how codes and conventions of theatrical communication (and a readerly self-conscious perception of this) are injected into Harris’s narrative protocols, creating an aesthetic that communicates to or, more specifically, performs with, the reader in ways that challenge the conception of narrative as self-contained representation. In sum, this paper demonstrates the way in which Harris’s narrative evokes, and is evoked by, the play of theatre — in other words its quintessentially differential nature, through images that resist the very concept of representation.
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Hatfull, Ronan. "‘That’s One of Mine’." Exchanges: The Interdisciplinary Research Journal 7, no. 3 (June 26, 2020): 45–64. http://dx.doi.org/10.31273/eirj.v7i3.481.
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In televisual representations of William Shakespeare’s life which blend biographical fact with fictionalised fantasy, contemporary writers often utilise the trope of the playwright colliding with characters and scenes recognisable from plays which he has yet to create and, consequently, finding inspiration. Others construct a reciprocal loop of influence, whereby Shakespeare is shown to have written or been informed by works that did not exist during his lifetime and which his plays themselves instigated. It has become fashionable in the metamodern era to depict these forms of metaphorical cannibalism in a parodic manner which oscillates between sarcastic rejection of Bardolatry and sincere appreciation for Shakespeare’s ‘genius’. Gareth Roberts satirised the notion of Shakespeare’s originality in Doctor Who episode The Shakespeare Code (2007), through the depiction of the playwright being fed and consuming his own works and specific references. In 2016, the 400th anniversary year of Shakespeare’s death, a number of commemorative BBC programmes also exhibited cannibalistic features, including the reverent (The Hollow Crown), the irreverent (Cunk on Shakespeare), and those which combined both registers (Upstart Crow). I will explore how these writers construct their portrayals of Shakespeare and, by interlacing fact and fiction, what portrait of the playwright these cannibalistic representations produce.
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Zon, Bennett. "“LOATHSOME LONDON”: RUSKIN, MORRIS, AND HENRY DAVEY'SHISTORY OF ENGLISH MUSIC(1895)." Victorian Literature and Culture 37, no. 2 (September 2009): 359–75. http://dx.doi.org/10.1017/s1060150309090238.
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The dystopia of the Victorian cityis ubiquitous as a trope of nineteenth- and early twentieth-century literature, appearing across a wide array of literature in fiction, poetry, pamphlets, articles, reviews, socio-demographic works, socialist tracts, and miscellaneous papers. Anti-urbanism plays a prominent role in Dickens, Kingsley, and Gissing, to name but a few, and emerges in more pointedly sociological titles such as Andrew Mearns'sThe Bitter Cry of London(1883); Thomas Escott'sEngland: Its Peoples, Polity, and Pursuits(1885); Charles Booth'sLife and Labour of the People of London(1889–1902); Ford Madox Ford'sThe Heart of the Empire(1905); and W. W. Hutching'sLondon Town Past and Present(1909) (Lees, in Fraser and Sutcliffe, 1983: 154; Hulin and Coustillas, 1979:passim). Themes of urban degradation, overpopulation, squalor, unemployment, lack of education, despair, and pollution fill their pages.
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Miyakawa, Felicia M. "‘Jazz at Night and the Classics in the Morning’: musical double-consciousness in short fiction by Langston Hughes." Popular Music 24, no. 2 (May 2005): 273–78. http://dx.doi.org/10.1017/s0261143005000498.
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Leaders of the Harlem Renaissance – intellectuals such as Jessie Faucet, Alain Locke, James Weldon Johnson and W.E.B. DuBois – hoped to gain respect for African Americans through participation in emblems of high culture such as poetry, novels, serious plays, and the highest of all classical music genres: the symphony.1 They encouraged artists to mine folk themes for use in new, elevating works, transforming ‘indigenous’ materials into uplifting examples of high cultural resonance. Artists themselves, however, were ambivalent about privileging ‘high’ art, and especially so when making and writing about music. Indeed, as Samuel Floyd has argued, the most vibrant music to come out of the Harlem Renaissance took the form of blues, boogie woogie, and hot jazz, found in venues such as clubs, juke joints, rent parties, and stage shows (Floyd 1990, pp. 5–6).
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Connor, Victoria. "Rewriting the Past: Gerard Mannix Flynn’s Nothing to Say and James X." Review of Irish Studies in Europe 1, no. 1 (July 14, 2016): 107–21. http://dx.doi.org/10.32803/rise.v1i1.1264.
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If, as Anne Whitehead suggests, the term ‘trauma fiction’ represents a paradox, that violence resists containment through language, then writers who engage and attempt to represent traumatic events in their work can never fully render the horror of trauma through their writing. Yet artists such as Gerard Mannix Flynn, a survivor of trauma himself, still attempt to translate the experience of trauma into language. In the novel Nothing to Say and the play James X, Flynn explores the ways in which trauma is both experienced and recalled and the cathartic effects that ‘containing’ trauma through language can have. The impetus to write, to express the trauma one has suffered through language, offers the victim agency over his or her own narrative. The agency that the trauma survivor gains is not literal; rather, they have finally gained control over what Cathy Caruth identifies as the ‘haunting power’ of repressed trauma, and in doing so are able to take the first steps towards recovery. In both works, Flynn attempts to traverse the paradox that Whitehead presents: he attempts to represent that which is deemed unrepresentable, and put the violence inflicted upon the protagonists into words.
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Roshni, Raghunandanan, and Dr Tessy Anthony C. "Anthropomorphic Insights: A study the subaltern hero with reference to Spirit: Stallion of the Cimarron." SMART MOVES JOURNAL IJELLH 6, no. 10 (October 10, 2018): 1. http://dx.doi.org/10.24113/ijellh.v6i10.5108.
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Animal characters have fascinated viewers as well as readers in animated as well non-animated films and in fiction. This unfading interest in animal characters have inspired writers and film makers to use anthropomorphism as a tool for breathing life into flora and fauna. One could observe that films and fiction which are anthropomorphic in nature focus on relations between humans and animals as well as between weaker and stronger animals. A hegemonic relationship could be seen emerging among the characters thus making these perfect for post-colonial study. In post-colonialism the element of the ‘subaltern’ plays a major role. In all of these works the relationship between man and animals as well as stronger and weaker animals can be analysed through this aspect of ‘subalternity’ since the latter becomes the subaltern. While analysing a film or fiction of anthropomorphic nature as a subaltern text we cannot ignore Antonio Gramsci’s theory of the subaltern since he used this term for referring to all of those groups in society who were suppressed by the ruling class. DreamWorks Pictures’ Spirit: Stallion of the Cimarron narrates the story of an anthropomorphic wild stallion who saves his herd from being destroyed by the U.S Cavalry. Spirit witnesses two contradictory sides of humans in the form of the Colonel who commands the cavalry and a Lakota Native American, Little Creek, who has been kept in captivity at the cavalry. While the Colonel tries to suppress Spirit by breaking his inner ‘spirit’ and transforming him into a beast of burden Little Creek teaches him how to harness his unrestricted energy in order to discover his inner strength whereby which he breaks down the supremacy of the Colonel. Thus Spirit symbolises the subaltern hero who ends the oppressive reign of the Colonel and his cavalry upon his herd as well as the Lakota Native settlement.
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Isakhanlı, Hamlet. "Tide-table of Liam Fox Liam Fox. Rising Tides: Facing the Challenges of a New Era. Heron Books, 2013." Khazar Journal of Humanities and Social Sciences 18, no. 3 (October 2015): 104–9. http://dx.doi.org/10.5782/2223-2621.2015.18.3.104.
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A book normally reflects the world of thoughts of its author. Drop by drop, the author’s life—joy and sadness, anger and love, concerns and wishes—soak into the book. In fiction, the identity of the author is in invisible form, not systemic, or clearly visible in one image; instead it may be distributed among several characters. Even though the author’s identity is allocated a small space in literature, it plays the role of salt to a meal: just a small amount of it melts into the food, but without it, the food is flavorless. In non-fiction, such as history or philosophy, the author analyzes facts and openly states his/her attitude towards them. These types of works, in contrast to literature, reveal the identity of the author throughout the book. If a work is based on serious research, the author tries to downplay his/her identity, to write with objectivity and maintain the principle of seeing everyone through the lens of equality. He/she avoids polarized views of “them” and “us,” as well as sympathy and antipathy; he/she writes with empathy (or rather, tries to do so; after all, authors are also human). However, there is one more type of work or possible author approach. In this case, the author writes to “our own” and tries to explain certain points to them, help them understand what awaits “us” in the future, and to draw lessons and conclusions from historical and current events. Rising Tides by Liam Fox can be placed in this last category. The author uses the word “us” in its narrow sense to mean Great Britain and in its broad sense to include Western democracy.
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González Cruz, Maria Isabel. "Exploring the dynamics of English/Spanish codeswitching in a written corpus." Revista Alicantina de Estudios Ingleses, no. 30 (December 15, 2017): 331. http://dx.doi.org/10.14198/raei.2017.30.12.
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This investigation is part of a much larger ongoing research project which approaches a corpus of popular romance fiction novels from a multidisciplinary perspective. The paper focuses on the usage of Spanish words and expressions in the English written discourse of two samples of romances taken from the corpus we are compiling for Research Project FFI2014-53962-P. When analyzing the occurrences of Hispanicisms in the samples, we will specifically address the issues of both their forms and the different socio-pragmatic functions that these cases of language switching seem to play. It is only recently that scholars have studied the patterns of codeswitching in literary writing, but, to the best of the author’s knowledge, no previous research has focused on codeswitching in this particular subgenre, which has always been doubly stigmatized for being both popular and feminine.