Relevant bibliographies by topics / Powers, Georgina (Fictitious characters)

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Academic literature on the topic 'Powers, Georgina (Fictitious characters)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Powers, Georgina (Fictitious characters)"

1

Ostalska, Katarzyna. "“Enlightenment Is a Shared Enterprise”: Tree Ecosystems and the Legacy of Modernity in Richard Powers’s The Overstory." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 285–303. http://dx.doi.org/10.18778/2083-2931.12.17.

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In Richard Powers’s Pulitzer Prize-winning The Overstory (2018) the theme of the novel is the forest ecosystem, with a special emphasis placed on trees, upon whose developmental model the processes of (organic and industrial) growth are scrutinized in this novel. This article examines tree-human assemblages in detail to see how they exchange their material agency and how they relate to the e/Enlightenment project. The essay also explores Powers’s novel to examine how Buddhist values of spiritual enlightenment are contextualized within European Enlightenment and how decentred humanity finds its
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2

DePass, Cecille. "Chapter 1: Introductory Progressions." Cultural and Pedagogical Inquiry 12, no. 3 (2022). http://dx.doi.org/10.18733/cpi29609.

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In the Introduction, a fictitious dance performance sets the stage for the emerging book. I decided to create an imaginary story with characters and dance performances, because Mrs. Simpson encouraged us to tap into our individual and collective creative powers, in order to interpret the music and to make the characters we portrayed in the dances come alive. Although the characters are invented, each one has characteristics of some of the dancers who attended Mrs. Simpson’s school. Using dramatic license the personalities and characteristics of the dancers are heightened in a graphic manner.
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3

Nairn, Angelique, and Lorna Piatti-Farnell. "The Power of Chaos." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.3012.

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In 2019, Netflix released the first season of its highly anticipated show The Witcher. Based on the books of Polish author Andrzej Sapkowski, the fantasy show tells the intersecting stories of the Witcher Geralt of Rivia (Henry Cavill), the princess of Cintra Ciri (Freya Allan), and sorceress Yennefer of Vengerberg (Anya Chalotra), who is commonly referred to as a ‘mage’. Although not as popular among critics as its original book incarnations and adapted game counterparts, the show went on to achieve an 89% audience score on Rotten Tomatoes and was subsequently renewed for more seasons. Althou
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4

Starrs, Bruno. "Hyperlinking History and Illegitimate Imagination: The Historiographic Metafictional E-novel." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.866.

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‘Historiographic Metafiction’ (HM) is a literary term first coined by creative writing academic Linda Hutcheon in 1988, and which refers to the postmodern practice of a fiction author inserting imagined--or illegitimate--characters into narratives that are intended to be received as authentic and historically accurate, that is, ostensibly legitimate. Such adventurous and bold authorial strategies frequently result in “novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages” (Hutcheon, A Poetics 5). They can be so entertaining and
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5

Nolan, Huw, Jenny Wise, and Lesley McLean. "The Clothes Maketh the Cult." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2971.

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Introduction Many people interpret the word ‘cult’ through specific connotations, including, but not limited to, a community of like-minded people on the edge of civilization, often led by a charismatic leader, with beliefs that are ‘other’ to societal ‘norms’. Cults are often perceived as deviant, regularly incorporating elements of crime, especially physical and sexual violence. The adoption by some cults of a special uniform or dress code has been readily picked up by popular culture and has become a key ‘defining’ characteristic of the nature of a cult. In this article, we use the semiotic
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Books on the topic "Powers, Georgina (Fictitious characters)"

1

Danks, Denise. Wink a hopeful eye. Allison& Busby, 1994.

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Danks, Denise. Better off dead. Futura, 1992.

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3

Baby love: A Georgina Powers investigation. Orion, 2001.

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4

Baby Love (The Georgina Powers Crime Novels). Orion Books Limited, 2003.

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Fame Grabber (Georgina Powers Crime Novel). Orion Books Limited, 2003.

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Phreak (The Georgina Powers Crime Novels). 2nd ed. Orion Books Limited, 2002.

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7

Wink a Hopeful Eye (Georgina Powers Crime Novel). Orion Books Limited, 2003.

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Danks, Denise. Frame grabber. A & B, 1993.

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9

Frame grabber. St. Martin's Press, 1993.

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Wink a hopeful eye. St. Martin's Press, 1994.

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Book chapters on the topic "Powers, Georgina (Fictitious characters)"

1

Brusberg-Kiermeier, Stefani. "On the Narrative and Moral Functions of Fictitious Portraits in E.A. Poe’s “The Oval Portrait”, M.E. Braddon’s Lady Audley’s Secret, and Oscar Wilde’s The Picture of Dorian Gray." In Literature as an Art Form - Evolving Literary Landscape [Working Title]. IntechOpen, 2025. https://doi.org/10.5772/intechopen.1009288.

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This chapter investigates the functions of portraits in narrative texts and argues that their use helps authors to comment on their characters and that portraits can play an important role for whole plots. The relations between painting and writing are complex and multidirectional and involve questions of style, genre and realism. In reference to A.S. Byatt’s essay Portraits in Fiction, this contribution suggests that a differentiation between “literary portraits”, “portraits in literature” and “fictitious portraits” will prove helpful for future discussions of the interrelations between art a
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2

Atarova, Kseniya N. "Authorial Position and the Function of Metatext in the Novels by Fielding and Sterne." In The Multifaceted Fielding. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0616-1-198-208.

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The article offers a comparative analysis of the uniqueness of the authorial positions and ways of using a metatext in works by Fielding and by Stern. A metatext is understood here as imbuing of the texture of the work with information concerning the principles of its creation and an idea of its author and reader. The very existence of a metatext gives out the presence of the author-demiurge and, consequently, points to the fictitious, created nature of the work. Fielding seems to be the first who introduced this kind of metatext into the texture of novel. The authors before Fielding attempted
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