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Journal articles on the topic 'Pushto fiction'
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1
Pepper, Andrew. "‘Complex’ Crime Fiction and the Politics of Ongoing-ness: Don Winslow's War against Endings." Crime Fiction Studies 1, no. 1 (March 2020): 130–45. http://dx.doi.org/10.3366/cfs.2020.0011.
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In pointing out that beginnings and endings merge in Don Winslow's ‘drug war’ trilogy – The Power of the Dog (2005), The Cartel (2015), and The Border (2019) – I argue that his narratives, like the ‘war on drugs’ itself, are ‘ongoing.’ Taking the resulting tension whereby this open-endedness or ongoing-ness is set against crime fiction's more typical generic push to resolution, as a starting point, I use and develop Mittell's concept of ‘complex TV’ to account for the complexities and continuities of Winslow's fiction. In one sense, this ongoing-ness is occasioned by Winslow's subject matter: it is the sociopolitical realities of the ‘war on drugs’ which determine the trilogy's structural and generic qualities. But what makes Winslow such an important writer are the particular ways he reshapes and pushes against the limits of narrative and genre, something that is made possible by and in turn makes possible a particular understanding of political struggle as ongoing and irresolvable. In my essay I explore the political implications of Winslow's fiction through a close examination of narrative and genre and where the emphasis is placed on breakdown and glitch rather than the successful realisation of totality.
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Sinwell, Sarah E. S. "Bosom friends and kindred spirits: Reimagining girlhood, bisexuality and queerness in Anne with an E." Queer Studies in Media & Popular Culture 8, no. 3 (September 1, 2023): 351–67. http://dx.doi.org/10.1386/qsmpc_00110_1.
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Questioning traditional ideas of hegemonic femininity, queerness and heteronormativity, this article examines Moira Walley-Beckett’s Anne with an E (2017–19, CBC and Netflix) as a means of revisiting queer and female histories in contemporary television. Reinvestigating classic Anne of Green Gables, this series pushes the boundaries of history by modernizing historical ideas about gender, sexuality, class and race in the early twentieth century. Using feminist theory, queer theory and critical cultural studies approaches, this article argues that these coming-of-age narratives of girlhood, bisexuality and femininity interrogate binary notions of past and present, childhood and adulthood, fact and fiction. By blending and blurring literary and fictional histories, this series pushes up against the whiteness and heteronormativity within media culture, drawing attention not only to the absence of people of colour and LGBTQ+ characters within literary and media histories more generally but also to alternative possibilities for more inclusive media representation. In this way, this series is rethinking historical and literary representations of girlhood, (bi)sexuality and feminist empowerment by putting queer people and women at the centre of its storytelling.
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Sallehuddin, Muhammad Afnan Bin Mohd, Su-Cheng Haw, and Kok-Why Ng. "Write-Deck: An Enriched Social Reading Fan Fiction Site With Recommendation System." Applied and Computational Engineering 2, no. 1 (March 22, 2023): 685–94. http://dx.doi.org/10.54254/2755-2721/2/20220647.
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The Covid-19 pandemics have pushed individuals away from having any personal contact with each other, in a long period of isolation. Spending time on relaxing activities such as writing fan fiction help alleviate the negative effects of long isolation. Writer-Deck is a system to read fan and original fiction online which is enriched with a recommender system. Writer-Deck aims to provide users with simple ways to find the most likely fiction for leisure reading, simple navigation to access information on their favourite fiction, the ability to save to the library to read later and notification of a new chapter to be released. In addition, the review and rating functions are available for writers to gauge their writing skills. The usability test on 30 respondents indicated that on average 76.6% of respondents respond positively in terms of navigation, design and layout, features, search and recommendation.
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Pakhsaryan, Natalia. "THE CROSSROADS OF CULTURES AND METAMORPHOSES OF TIME IN ANDREI' MAKINE 'S NOVELS." Herald of Culturology, no. 2 (2022): 111–26. http://dx.doi.org/10.31249/hoc/2022.02.06.
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The article discusses several novels by Andrei' Makine, a modern writer, in whose work Russian and French cultures are closely intertwined. The author of such works as The French Testament, Requiem for the East, The Woman Who Waited, etc., having emigrated to France in 1987, writes his novels in French. But in all his works the Russian theme is presented in one way or another. Besides the Russian literary tradition is important for the writer. The experience of I.A. Bunin, in particular, is especially revered by Andrei Makine. In his novels, this Franco-Russian author refers to different stages of Russian history of, including those that had occurred before his birth. On the one hand, he relies on the events of his own biography, introduces autobiographical elements into the plot of novels, on the other hand he constantly mixes these elements with fiction, shifts and pushes the boundaries of time. Fictional metamorphoses in A. Makine’s works allow him to express nostalgia for Russia in the artistic canvas of the text in French.
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Dusaillant-Fernandes, Valérie. "Le récit de survivance de Serge Amisi : modalités d’adaptation textuelle et stratégies d’ajustement." Dialogues francophones 21, no. 1 (December 1, 2015): 107–20. http://dx.doi.org/10.1515/difra-2015-0006.
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Abstract In the narrative of survival, Souvenez-vous de moi, l’enfant de demain (2011), Serge Amisi, former child soldier in the Democratic Republic of Congo from 1997 to 2011, recounts his story of forced recruitment in Kabila’s rebel troops. A hybrid text that pushes the boundaries between fiction as well as historical and personal truth, this testimony turns out to be a privileged writing space where the social and psychic reconstruction of the narrator can be achieved. In the first part, the article explores Amisi’s singular and powerful writing which blurs the lines between reality and fiction. In the second part, the paper demonstrates how Amisi summons his memory to restore the coping mechanisms which allowed him to adapt to the living conditions around him or to face the barbaric punishments while taking a childlike look at a dehumanizing historical reality.
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Chaudhary, Fariha, and Syeda Amarah Zahid. "The Interplay of Simulacrum, Hyper-reality and Distorted Identity in Hamid’s Fiction: A Postmodern Paradigm." International Journal of Linguistics and Culture 2, no. 2 (December 24, 2021): 117–34. http://dx.doi.org/10.52700/ijlc.v2i2.44.
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The present research is an exploration of the interplay between simulacrum, hyper-reality and identity as presented in Hamid’s fiction. Simulation and hyper-reality created through media and globalization profoundly affect the socio-cultural identities of the various male and female characters in the novel in both positive and negative ways. Furthermore, consumer capitalism, westernization and hyper-mediated experiences make the characters believe in false realities thus leading them to chaos and identity crisis. These hyper-realties push the characters to undergo mental, emotional, psychological and socio-cultural conflicts. Thus, in an attempt to seek their identity and true self through blind imitation of the western culture, they are led further away from their cultural roots. The theoretical insights for this study shall be drawn from postmodern theory, specifically Baudrillard’s concept of simulacrum and hyper-reality. This qualitative inquiry shall be carried out by close reading and analysis of the selected textual lines in the context of the chosen framework. The significance of this research lies in the fact that it demonstrates how fictional characters specifically and humans generally are increasingly pushed to dwell in a hyper-reality created through simulation due to globalization. The repercussions of which are far reaching including a crisis of one’s own identity and perception of self in a society that is increasingly being disoriented due to the flux of globalization.
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Patte, Michael M. "Is it still OK to play?" Journal of Student Wellbeing 4, no. 1 (November 15, 2010): 1. http://dx.doi.org/10.21913/jsw.v4i1.641.
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This essay provides a personal account of my experience working in a school climate of increased student and teacher accountability where play, recess and extra-curricular activities were devalued and pushed to the brink of extinction. The two works of fiction explored in the essay, Santa Claus is comin’ to town and ‘All summer in a day’, serve as powerful metaphors exploring how devaluing play can adversely affect the overall wellbeing of children.
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Bruveris, Klara. "THE “CREATIVE TREATMENT OF ACTUALITY”: POETICS AND VERISIMILITUDE IN LAILA PAKALNIŅA’S FILMS." Culture Crossroads 10 (November 10, 2022): 85–90. http://dx.doi.org/10.55877/cc.vol10.144.
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Laila Pakalniņa is a contemporary Latvian filmmaker who works across both documentary and fiction film. Her films are often regarded as avant-garde, experi- menting with genre conventions, challenging her audiences to reconsider their understanding of narrative and the cinematic form. Her work also pushes the boundaries between what constitutes fiction film and what constitutes documen- tary. This arguably occurs because of her engagement with the tropes of poetic documentary cinema, of which there is a strong tradition in Latvia due to the famous Riga School of Poetic documentary established in the 1960s. This paper examines her documentary film Čau, Rasma (“Hi, Rasma”, 2014) as a continu- ation of the poetic documentary tropes developed by John Grierson, and argues that verisimilitude can be found in her documentaries through an application of Grierson’s philosophical work. The paper aims to contribute to a broader discus- sion of poetic documentary practices in the current era, and how this documentary approach has developed from its modernist beginnings.
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Liao, Xinyu. "A Study of Robot Identity Writing in Isaac Asimov’s Fiction." Communication, Society and Media 7, no. 1 (June 30, 2024): p64. http://dx.doi.org/10.22158/csm.v7n1p64.
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Isaac Asimov, a famous contemporary American science fiction writer, constructs the identity of robots through describing entities and dialogues in his short story “The Last Question”. If we compare and analyze the author’s other short stories with conceptual metaphor theory and Bakhtin’s theory of dialogue, we will find that the author pushes the development of the storyline through the constructing the robot’s identity and the blurring of the boundaries, and from then on, maps the development of the relationship between man and machine and the course of its development. The purpose of this paper is to explore the special significance of the construction of robot identity and its contribution to the development of the narrative, as well as to analyze the expectations of the human-machine relationship embedded in the novel.
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Purnell, David. "Corporal Hauntings." Departures in Critical Qualitative Research 4, no. 4 (2015): 65–82. http://dx.doi.org/10.1525/dcqr.2015.4.4.65.
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This narrative focuses on the use of fiction in conjunction with autoethnography in order to possibly change narrative inheritance. I use speculative autoethnography to seek out alternate outcomes of past life events. In this writing, fictionalized conversations take place with the hauntings of my child self during fragments of past experiences that I consider contributors to a failed familial relationship. I use this method to offer an alternative to the assumed social constructs of needing to “repair” such relationships. Through this account, I suggest ways to redirect the narrative momentum that pushes narrative inheritance into the future.
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Skrzypek, Ruth, and Richard Callaghan. "The “pushmi-pullyu” of resistance to chloroquine in malaria." Essays in Biochemistry 61, no. 1 (February 28, 2017): 167–75. http://dx.doi.org/10.1042/ebc20160060.
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Malarial infection continues to impart devastating health problems in the developing world. Treatment of malaria has involved chemotherapy since 168 BC, with the most prevalent and successful forms using plant alkaloids. Perhaps the greatest treatment success against malaria was by chloroquine, a synthetic derivative of the quinines found in the Cinchona tree bark. Chloroquine is able to kill parasites by interfering with haem metabolism in the parasite’s digestive vacuole. The widespread use of chloroquine predictably resulted in the development of drug-resistant malaria and the most highly implicated resistance mediators are the transporter proteins P-glycoprotein (P-gp) homologue 1 (P-gh1) and Plasmodium falciparum chloroquine-resistance transporter (PfCRT), which reside on the parasite’s digestive vacuole. The presence of PfCRT and P-gh1 on the vacuole membrane is analogous to the two-headed fictional creature known as the “Pushmi-Pullyu”. P-gh1 (Pushmi) increases influx of chloroquine into the vacuole, while PfCRT (Pullmi) causes efflux of chloroquine from the vacuole. This review describes how drug-resistant malarial parasites co-ordinate chloroquine distribution through adaptive mutations to promote their survival in the presence of this cytotoxic drug.
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Walsh, Pete. "What ifs and idle daydreaming: The creative processes of Andrew McGahan." Queensland Review 23, no. 1 (May 31, 2016): 62–71. http://dx.doi.org/10.1017/qre.2016.7.
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AbstractAndrew McGahan is one of Queensland's most successful novelists. Over the past 23 years, he has published six adult novels and three novels in his Ship Kings series for young adults. McGahan's debut novel, Praise (1992), won the Vogel National Literary Award for an unpublished manuscript, Last Drinks (2000) won the Ned Kelly Award for Crime Writing, and The White Earth went on to win the Miles Franklin Literary Award, The Age Book of the Year Award and the Courier-Mail Book of the Year Award, and was shortlisted for the Queensland Premier's Literary Awards. In 2009, Wonders of a Godless World earned McGahan the Best Science Fiction Novel in the Aurealis Awards for Excellence in Australian Speculative Fiction. McGahan's unashamedly open critiques of Australian, and specifically Queensland, society have imbued his works with a sense of place and space that is a unique trait of his writing. In this interview, McGahan allows us a brief visit into the mind of one of Australia's pre-eminent contemporary authors, shedding light on the ‘what ifs’ and ‘idle daydreaming’ that have pushed his ideas from periphery to page.
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Bollig, Ben. "“Structures of Feeling”: On Tenderness and Other Sensations in Carlos Gamerro’s Fiction." Hispanic Review 92, no. 2 (March 2024): 359–81. http://dx.doi.org/10.1353/hir.2024.a929144.
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Abstract: An important aspect of Carlos Gamerro’s novels is a subtle and nuanced focus on emotions. This paper begins by outlining the “affective technique”—precise, often metaphorical descriptions, of imprecise, hard-to-describe feelings—in his early works, in a nod to the “affective turn” in Latin American studies. Gamerro’s most recent novels— Cardenio and La jaula de los onas —offer funny and provocative digressions from known historical events, but rely on moving depictions of human frailty, pleasure, and interdependence. Gamerro links these through a central emotion: tenderness. Moreover, these novels display a “structural tenderness,” and with it, a relationship between the vulnerability of this emotion and a readerly response—an uncertainty or self-doubt—of being pushed into and out of fiction. La jaula de los onas uses this depiction of mutual vulnerability to tell a moving and politically acute story of violence and cultural erasure in the far south.
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Miletich, Marko Julio. "Translating Transgender: English Pushed to the Limits in José Donoso’s El lugar sin límites." Hikma 21, no. 1 (May 24, 2022): 33–51. http://dx.doi.org/10.21071/hikma.v21i1.13226.
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A devastating Sunday in the tumultuous life of a 60-year-old transvestite, co-owner of a brothel with her/his virgin daughter La Japonesita, sets up a bloody storyline that takes readers to the Chilean town of El Olivo through the pen of José Donoso and his seminal work El lugar sin límites (1966). The novella unravels the internal struggles of the fictional town dominated by the patriarchal prominent landowner, Alejandro Cruz. The story provides an account of situations that transpire as a result of the actions of La Manuela, as s/he moves across traditional constructed sex/gender boundaries while becoming involved with a hypermasculine character, Pancho, who wrestles with homoerotic desires. A gendered reading of this novel takes into consideration the way in which sexual difference is inscribed discursively in the text, and how the translation into English by Suzanne Jill Levine’s (Hell Has No Limits, 1995) exposes the interplay of gender and social control. The analysis conducted in this article is of a descriptive nature, and it intends to point out decisions taken by the translator in order to represent the multilayered and flexible gender identities shown in the Spanish text and how they are rendered into English in order to portray the fictional characters. A careful analysis of the renditions of key passages will bring to light the translator’s perceptions of the gendered ideology within the novel. English is pushed to the limits in order to represent the sexual identities of this gender-laden Spanish text.
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Cafiero, Deborah. "‘Hard-Boiled’ Detectives in Spain and Mexico: The Ethical Reorientation of a Genre." Crime Fiction Studies 2, no. 2 (September 2021): 154–70. http://dx.doi.org/10.3366/cfs.2021.0044.
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Hard-boiled’ fiction arose in the early decades of the twentieth century, uncovering connections among crime, wealth and power, and exposing moral fissures within U.S. capitalism. After French publisher Gallimard marketed translations of American crime fiction as noir, international writers started adjusting the ethical framework of the original authors as part of their ‘glocal’ adaptation of a global genre to local circumstances. The present article pushes past ‘glocal’ analysis of noir to propose a ‘transnational’ relationship, adapting Paul Giles’ definition of ‘transnational’ practice in which international authors reflect the genre back upon its American roots in order to illuminate the ‘silences, absences and blindspots’ in the original ethical stance. The ‘misreading’ of noir also permits a ‘misrecognition’ of local circumstances, exposing moral fissures throughout different societies. This article shows how series by Manuel Vázquez Montalbán and Paco Ignacio Taibo II reveal ethical blindspots in American models by situating the detective within an emotional history of place (Barcelona for Vázquez Montalbán, Mexico City for Taibo II). Although these detectives ultimately cannot determine or perform the role of ethical citizen, their emotional-geographical bonds open up a critique of American ideals and pave the way for a reimagining of the ethical in the twenty-first century.
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Machado, Aline. "Minimum Winning Electoral Coalitions Under Presidentialism: Reality or Fiction? The Case of Brazil." Latin American Politics and Society 51, no. 03 (2009): 87–110. http://dx.doi.org/10.1111/j.1548-2456.2009.00057.x.
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Abstract This article studies the motivations of party leaders to form “minimum winning” electoral coalitions—alliances that cease to be winning if one member is subtracted. In Brazil, concurrent elections stimulate political actors' coordination, and electoral alliances are allowed. In 2002 and 2006, moreover, the Electoral Supreme Court obliged those parties with presidential candidates to replicate this electoral arrangement in the district. Under “verticalization,” parties with presidential candidates could not form alliances with rival parties in the concurrent legislative and gubernatorial elections. Verticalization arguably pushed party leaders to form minimum winning electoral coalitions. This new rule forced them to reconsider the contributions of each possible ally in the elections for president, federal deputy, and governor. Examining the elections from 1998 to 2006, this study finds that under verticalization, while parties did form more electoral coalitions with those partners they considered crucial to win, they did so at the expense of policy.
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Chen, Jamie. "The Ends of Imagination: Trauma Narrative in Arundhati Roy's Prose and Politics." Journal of the Midwest Modern Language Association 55, no. 2 (September 2022): 155–63. http://dx.doi.org/10.1353/mml.2022.a924156.
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Abstract: Arundhati Roy became an overnight literary sensation in 1997: The God of Small Things was published to great acclaim from the critics, with Roy receiving a million-dollars advance and publishing houses snapping up the rights in more than eighteen countries within months of the novel's completion. Roy had spent four years working on the manuscript and would take another two decades to write her second novel, The Ministry of Utmost Happiness . In the meantime she published more than a dozen nonfiction books, whose topics ranged from critiques of nuclear armament to dam development. This article applies a postcolonial lens to the changes that Roy's prose seeks to achieve, focusing particularly on how her fictional and nonfictional work pushes the ends of her writerly imagination to work through personal and collective trauma. I use the term "work through" as LaCapra defines it in Writing History, Writing Trauma : "one is able to distinguish between past and present and to recognize something as having happened to one … which is related to, but not identical with, here and now" (66). LaCapra's emphasis on distinguishing between the past and present is linked to recognizing change or growth in this analysis, relating back to Roy's work both in terms of its activist applications as well as its experimentations with formal repetition. The article compares stylistic techniques in her nonfiction and fiction, specifically the printer's marks in The Greater Common Good and The God of Small Things , and analyzes how they are functioning differently in a trauma narrative. The article's title is a reference to Roy's first political essay, "The End of Imagination," and the analysis looks at the two interpretations of "ends," both in terms of limitations in her works as well as the conclusion she seeks to achieve through them, positing that Roy's multiple forms of storytelling indicate an imagination that is endless.
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Rocca, A. J. "Samuel R. Delany as Genre Flaneur: Encountering Science Fiction in Dhalgren." Science Fiction Studies 51, no. 1 (March 2024): 53–73. http://dx.doi.org/10.1353/sfs.2024.a920233.
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ABSTRACT: Samuel R. Delany's Dhalgren (1975) moves through different genres and styles of literature in much the same way that Walter Benjamin's flaneur moves through the spaces of the city. Delany as a writer makes contact with any number of other traditions outside of science fiction, but he expresses no radical desire to revolutionize sf or move it into mainstream literature. Delany does not assimilate or synthesize outside influences into his work so much as he encounters them. In Starboard Wine (1984), his book of sf criticism, Delany defines "encounter" in literature as the interpretation of a text associated with one genre through the reading protocols associated with another. I argue that "encounter" is analogous to "contact," a concept from Delany's Times Square Red, Times Square Blue (1999) that relates to the real, physical interaction of individuals in an urban environment. Nowhere is this convergence of literary encounter and urban contact clearer than in his novel, Dhalgren. Dhalgren uses the city as a conceptual framework for encounters among a diverse array of influences including myth, poetry, autobiography, and literary modernism. These types of encounters are also plentiful in Delany's earlier work, but Dhalgren pushes them to a point where even sf itself is decentered and becomes just one more thing to be met in the space of the city.
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Monika, K., and Dr S. Meenakshi. "A Study on National Identity in Dystopian Society of Suzanne Collins’s The Hunger Games Trilogy." International Journal of English Literature and Social Sciences 7, no. 3 (2022): 222–27. http://dx.doi.org/10.22161/ijels.73.32.
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This article tries to explore the theory of nationalism and its significance in dystopian fiction through the study of Suzanne Collins' The Hunger Games trilogy. It investigates how dystopian elements are linked to nationalism, as well as how frequently dystopian narratives blow warnings against nationalistic sentiment. In Collins' speculative narrative, the article examines the ambiguity of the belief that a liberalized economy, globalized media, and communication will lead to a perfect society in the future. Panem is a fine example of a dystopian nationalist country that deprives people of their rights and resources while being dominated by rulers that are only interested in money and power. The examination of The Hunger Games trilogy aims to highlight that national identity, as it is imposed on people, pushes the entire society into a dystopian reality.
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Dueben, Rebecca. "The Truth As We Know It." After Dinner Conversation 2, no. 12 (2021): 5–18. http://dx.doi.org/10.5840/adc2021212110.
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How should adults help children who are being bullied? How is childhood trauma adapted into adult relationships? In this work of philosophical short story fiction, Celia has been married six years to Jason, an ex-military man 20 years her senior. Celia’s child, Theo, is the result of Celia’s abusive father raping her as a teen. Theo is a short, overweight, awkward child who is teased at school. Jason continues to try to tease him and create experiences to “make a man out of him.” One day, when Jason and Theo go fishing, Theo is laughed at once too often and pushes Jason off the bridge, to his death. Now Celia is left to decide if she tells the truth about what happened, or tries to frame the death as a slip and fall accident.
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Swanson, Cory. "Simon." After Dinner Conversation 2, no. 2 (2021): 64–73. http://dx.doi.org/10.5840/adc20212215.
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What if the Devil were real and you could, and did, kill him? What, does the Devil stand for in society, and what might change about society in the event of his death? In this work of philosophical short story fiction, Simon is put on trial for having, literally, killed the devil. He did it through trickery, of course. He told the Devil that he (the Devil) was a cheap peddler of a product, fear. But, because he was immortal, he would never truly understand the product he pushed on others. The Devil asserts he fears nothing and, to prove it, removes his immortality from his being. Simon kills him. And now Simon is on trial. It is unethical to kill a purely evil thing? And, if the Devil is dead, why are bad things still happening in the world?
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Desai, Priyal. "Book Genre Prediction." International Journal for Research in Applied Science and Engineering Technology 9, no. 10 (October 31, 2021): 593–99. http://dx.doi.org/10.22214/ijraset.2021.38409.
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Abstract: The present work aims to classify the genre of the books automatically using the Python programming language. A genre is a subset of art, literature, or music that has a distinct form, substance, and style. In many instances, a book can be classified as belonging to more than one genre. It's difficult to categorize a book or piece of literature as belonging to one genre over another. Many novels end up badly categorized or pushed under the super-genre umbrella of fiction since there is no clear criterion to determine how much of a book belongs to a given genre. Therefore, it's critical to develop a system for categorizing books and determining their relevance to a particular genre. Therefore, the current study tries to solve this challenge by combining various text categorization approaches and models to come up with the best solution
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Swanson, Cory. "Simon." After Dinner Conversation 4, no. 8 (2023): 75–86. http://dx.doi.org/10.5840/adc20234878.
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What if the Devil were real and you could, and did, kill him? What, does the Devil stand for in society, and what might change about society in the event of his death? In this work of philosophical short story fiction, Simon is put on trial for having, literally, killed the devil. He did it through trickery, of course. He told the Devil that he (the Devil) was a cheap peddler of a product, fear. But, because he was immortal, he would never truly understand the product he pushed on others. The Devil asserts he fears nothing and, to prove it, he removes his immortality from his being. Simon kills him. And now Simon is on trial. It is unethical to kill a purely evil thing? And, if the Devil is dead, why are bad things still happening in the world?
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Ngeh, Andrew T., and Sarah M. Nalova. "Rethinking Language and Gender in African Fiction: Towards De-gendering and Re-gendering." Social Science, Humanities and Sustainability Research 1, no. 1 (June 20, 2020): p132. http://dx.doi.org/10.22158/sshsr.v1n1p132.
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The recognition and acceptance of the social construction of gender and the coercive nature of gendered subjectivities has been at the centre of feminist discourse which challenges the subjugation of the woman. G.D. Nyamndi, therefore, in his Facing Meamba attempts to address these concerns and proffer feasible solutions. The representation of women in literature, the role of gender in both literary creation and literary criticism, as studied ingynocriticism, the connection between gender and various aspects of literary form in such genre and metre embody masculine values of heroism, war, and adventure. This androcentric stand has compromised the rights of the woman, resulting in her marginalization, alienation and exclusion from socio-cultural activities. She is maligned with a sense of inadequacy. The patriarchal centre prevails and dominates the woman who has been pushed to the margin of the society. In this regard, Nyamndi demonstrates that, the African woman still has a place within the postcolonial context even though the man is imbued with more powers than the woman. Informed by the postcolonial theory, this study argues that, gendering constitutes a grave danger to a harmonious existence between the two genders. The study revealed that, de-gendering and re-gendering can create harmony between the man and woman because the two concepts are basis for gender equality. To achieve this, language which constitutes a semiotic mould has been exploited to deploy themes like, gender inequality and cultural issues.
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Tamcke, Martin. "VIOLENCE IN THE CLASSROOM. INTEGRATION OF MIGRANTS IN GERMANY." Вестник Удмуртского университета. Социология. Политология. Международные отношения 6, no. 2 (June 27, 2022): 266–69. http://dx.doi.org/10.35634/2587-9030-2022-6-2-266-269.
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The text reviews a few books, written by muslim migrants in Germany. The kurdish author Balci speaks about the violence in the submilieu of some muslim migrants with special respect to turkish and arab (and kurdish) differences and the violence against the christian migrants. As she had a job in social work with migrants, she relies on facts, but call her book a "novel". The two Iraqis present two ways to think about IS. The one, who never lived for a longer time in the Orient, tries to imagine, how the radicalisation can come into being in Germany among muslim migrants, that leads them to terrorism. The other is coming form this experience, but dont focus on the facts, that pushed him into migration. So the paper give an insight into the sub-milieu of islamists in Germany. Fiction and facts are not easy to differentiate, but each of these books shows aspects of the current debate among them.
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Priyanka, P., and T. Sekar. "Double Marginalization and Power Politics in Premchand’s Thakur’s Well." Shanlax International Journal of English 11, no. 1 (December 1, 2022): 78–81. http://dx.doi.org/10.34293/english.v11i1.5308.
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Munshi Premchand, the pen name of Dhanpat Rai Srivastav was an Indian writer famous for his writings in modern Hindustani Literature. He was known to be a founding father of social-based fiction in Hindi and Urdu. His writings were about socio-economic conflict that prevailed in Indian Subcontinent during his period. This paper focuses on double marginalization and power politics that exist in Premchand’s Thakur’s Well. Marginalization is a theory about an individual or a group of people who were pushed to the edge and ignored or relegated by dominated aristocratic individual or group. It also discussed how the female protogonist doubly marginalized based on Caste-based discrimination and gender bias that dwell in India. Power Politic is a term used to describe the people of higher classs and financially well-to-do people superintendence over vulnerable and proletariat people. The terms double marginalization and power politics has a unique and vital accommodation in this story Premchand’s Thakur’s Well.
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Williams, Charles. "Intervention." After Dinner Conversation 4, no. 8 (2023): 39–48. http://dx.doi.org/10.5840/adc20234875.
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Is there a difference between the right to end your own life quickly, vs slowly? In this work of philosophical short story fiction, Bill has decided it is time for a family intervention. His younger brother Tom gained 100 pounds after his wife died and it is affecting his health. His doctor’s have advised him to lose weight and proscribed him medication he refuses to take. Bill tells his plan to their sister, who opts out of the family intervention, arguing it’s his life, and if anyone should be having an intervention, it should be his daughters. Bill disagrees and, after a fishing trip, confronts Tom about his weight. Tom pushes back, arguing that eating makes him happy, that he doesn’t want to live to become an invalid, and that many cultures view obesity in a positive light. Eventually, Tom agrees he will consider making eating habit changes, but only if Bill and the rest of the family quit pestering him.
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Cook, Nina Elisabeth. "The Painterly Poe: Architect, Artist, Author." Edgar Allan Poe Review 24, no. 2 (November 2023): 198–220. http://dx.doi.org/10.5325/edgallpoerev.24.2.0198.
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Abstract Many scholars have read Edgar Allan Poe as uniquely enmeshed in an interdisciplinary and intermediary web connecting the visual and practical arts. Poe’s prose is intrinsically multimodal and multisensory, a transgression of disciplinary boundaries that leads to a horrific affect. This article examines three of Poe’s short stories with attention to the figure of the artist, architect, and author within his fiction, arguing that these characters can be read as exemplars of Poe’s aesthetic philosophy laid out in “The Philosophy of Composition.” Poe pushes and explores the limits of disciplinary boundaries by showing the various conjunctions and conflations inherent to artistic practice. In his stories, Poe explores what distinguishes literature from other creative endeavors. It is his fascination with the porous nature of artistic boundaries that drives both the form and content of his tales—and it is this very liminality, this porousness, that makes them truly the harbingers of horror as a genre.
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Salgaro, Massimo, and Benjamin Van Tourhout. "Why Does Frank Underwood Look at Us? Contemporary Heroes Suggest the Need of a Turn in the Conceptualization of Fictional Empathy." Journal of Literary Theory 12, no. 2 (September 3, 2018): 345–68. http://dx.doi.org/10.1515/jlt-2018-0019.
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Abstract Fictional heroes have long attracted the attention and emotions of their audiences and readers. Moreover, such sustained attention or emotional involvement has often taken the form of identification, even empathy. This essay suggests that since 9/11, however, a new cycle of heroism has emerged that has taken its place, namely the hybrid hero (cf. Van Tourhout 2017; 2018). Hybrid heroes have become increasingly popular during the post 9/11 period, offering escapism and reassurance to audiences in difficult times in which clear-cut divisions between good and bad, between right and wrong came under pressure. These characters challenge audiences and creators on moral and narrative levels because of their fluid symbiosis of heroic and villainous features. We find some well-known examples in contemporary TV-series such as Breaking Bad, House of Cards, etc. Hybrid heroes are looking for ways to arouse audiences and are aiming at the complicity of the audience. The most striking example of this complicit nature can be seen in the TV-series House of Cards when Frank Underwood addresses the audience by staring into the camera. Traditional psychological and aesthetic theories on empathy are challenged by the phenomenon of the hybrid hero because empathy is generally conceived in prosocial terms, with most of the current research being geared toward a positive notion of empathy (cf. Johnson 2012; Bal/Veltkamp 2013; Koopman/Hakemulder 2015). Additionally, there has been a prevalent confusion between sympathy and empathy that has impacted our understanding of the perception of such heroes (cf. Jolliffe/Farrington 2006). In fact, one of the reasons for the predominantly positive connotation of empathy in the study of literary reception is that empathy has been narrowly defined as »sympathy and concern for unfortunate others« (Bal/Veltkamp 2013, 2). The distinction between empathy and sympathy is crucial in the study of immoral figures because, as research has shown, only sympathy involves a moral judgement. The concept of a hybrid hero pushes us to decouple the core of fictional empathy from moral impulses or prosocial actions because it demands a »suspension of moral judgement from its viewer« (cf. Vaage 2013). Some recent studies (cf. Happ/Melzer/Steffgen 2015) have found that empathic responses to videogames cause antisocial effects, while others report cases of »tactical empathy« (cf. Bubandt/Willerslev 2016) or »empathic sadism«, which allows the fiction reader to predict the feelings of the characters and to find enjoyment in this prediction, independently of the negative state and the pain of them (cf. Breithaupt 2016). We believe that the conceptualisation of an emotional bond between the audience and questionable or hybrid heroes will only be permitted through a turn in the approach to the concept of fictional empathy in media studies and aesthetic theory. Thus, the scope of the present paper is not only to describe the phenomenon of the hybrid hero, but also the specific notion of empathy and aesthetic enjoyment that the concept of a hybrid hero demands, that, compared to the present concepts of empathy: (1) distinguishes empathy from sympathy, (2) decouples empathy from morality, (3) takes into account the aesthetic enjoyment associated with negative emotions and moral violations. Finally, we argue that this renewed concept of fictional empathy should be incorporated into newly introduced models of art reception, which integrate both positive and negative emotions in art fruition (cf. Menninghaus et al. 2017). Recent research in empirical aesthetics and media psychology seems to support this view in showing that a moral violation in fictional stories produces mixed emotional and enjoyable responses (cf. McGraw/Warren 2010). The success of the hybrid hero confirms that the interplays of positive, negative and mixed emotion elicited by ambivalent figures such as the hybrid hero can partially explain the massive success and broader impact of contemporary TV series.
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Pinheiro, Nathália Marcia Goulart, Marcelo Gechele Cleto, Izabel Cristina Zattar, and Sônia Isoldi Marty Gama Muller. "Performance evaluation of pulled, pushed and hybrid production through simulation: a case study." Brazilian Journal of Operations & Production Management 16, no. 4 (November 21, 2019): 685–97. http://dx.doi.org/10.14488/bjopm.2019.v16.n4.a13.
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Goal: This work aims to compare performance indicators of the pulled, pushed and hybrid production schedule, with those of a specific production environment of the printing industry, using computational simulation.
Design / Methodology / Approach: Through a case study, it was possible to create a conceptual model, from which a computational model that was verified and validated as representative of the real productive system was developed. There are generated fictional models of the production environments to compare cycle time, work in process and attendance to the demand, varying the quantity of orders confirmed by the final clients.
Results: The CONWIP (Constant Work in Process) system presented very high cycle times and failure to meeting the demand, although it was kept in the format of the work in process. The actual real system and the pushed system obtained the worst performances regarding the work in process, besides presenting failures to meeting the demand and very high cycle times. The pulled system obtained the best performance to meet the demand, and cycle times adequate to the production requirement and moderate work in process.
Limitations of the investigation: The application of the methodology was limited to the study of a single productive system of a print industry and cannot be extended to the entire sector.
Practical implications: This work presents a practical application of computer simulation tools applied to Production Planning and Controls which may be replicated by other organizations or educational institutions for system performance analysis in different scenarios.
Originality / Value: The original contribution of this work is the application of computational simulation for a production system in a print industry without interference in a real system.
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Phuyal, Komal Prasasd. "Appropriation of Myth In Mahasweta Devi’s “Draupadi” and Nayan Raj Pandey’s Ular." Tribhuvan University Journal 39, no. 1 (June 20, 2024): 160–74. http://dx.doi.org/10.3126/tuj.v39i1.66754.
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Myths evolve and transform into new narratives in contemporary times through cultural appropriation as societies treat myths as vantage points to examine and interpret contemporary reality. Creative authors appropriate myths into emerging contexts to pass commentary on the prevailing reality, to derive meaning out of incoherent conditions of the time, and to make emergent situations more intelligible to the world. Popular Bengali writer, Mahasweta Devi (1926-2016) has employed Draupadi from the Mahabharata as the voice of the revolting Santhals from Bengal in the 1970s. Her short fiction “Draupadi” (1978) tells the story of a Naxalite insurgent, who sets out to participate in the armed conflict against the state in order to end economic exploitation and caste-based discrimination in her society. Similarly, Nepali novelist Nayan Raj Pandey (1966-) appropriates the myth of Draupadi by turning her into a Badi woman, sexually serving at the precinct of her society in Nepalgunj in his novella Ular [Imbalance] (1996). Devi recontextualizes the mythical Draupadi as an agent who chooses to transform the core of her society, while Pandey’s Draupadi dreams of settling in society as a family woman with her lover, Prem Lalwa. By analyzing two works of fiction, this paper explores the political goal of appropriation of certain myths in modern South Asian literature by contextually reading the text in order to explore the political goal of recontextualizing the classical narrative in the modern world. Devi's Draupadi stands at the crossroads of Bengal's socio-cultural transition in the 1970s. The author treats Draupadi as a window to look into her society and critically remark on its course of action at present. Similarly, Pandey shows the impact of the restoration of democracy in 1990 in Nepal. Draupadi loses her purity and agency in the 1990s in Nepal by letting herself be pushed to the further margins of her society.
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Hartglass, Craig. "Notes From The Struggle." After Dinner Conversation 3, no. 11 (2022): 72–88. http://dx.doi.org/10.5840/adc2022311106.
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Why does society seem to support the leadership of bully strongmen? In this work of philosophical short story fiction, the narrator is visiting his friend Tomas. They have been of-and-on friends for years, but now Tomas is dying. Over drinks, they reflect on their lives while Tomas retells the story of a baboon tribe he read about. The baboon tribe was run by vicious leaders and violence was common. Until, one day, they found a trash heap. The largest, most dominant members ate from the heap, while the less aggressive were denied access. Eventually, the trash gives the baboon’s tuberculosis, and all the aggressive males die off. The passive males reform the tribe as an egalitarian paradise of sharing. As soon as baboons from the outside tribes try to enter, they quickly learn they will be pushed out unless the adopt the kinder ways. This goes on for six generations. Plato argued humans were too stupid to trusted with voting in a democracy. The baboons might tend to agree.
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Piner, Kelly. "Euthanasia." After Dinner Conversation 4, no. 8 (2023): 15–26. http://dx.doi.org/10.5840/adc20234873.
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Do desperate times justify desperate measures, or are some measures always off the table? In this work of philosophical short story fiction, Hank is the inheritor of House of Hope, a farm facility where elderly or unwanted pets are shipped to be euthanized. This has become increasingly common because of severe global shortages that have pushed the world into near chaos. Each day, wooden crates arrive with dogs, cats, rabbits, and a menagerie of pets to be euthanized. To simplify the process, the government no longer allows families to drop off pets personally or to be with them as they are euthanized. Furthermore, due to resource scarcity it is against the law for House of Hope to take in, or adopt out, the pets that come in. Hank hates the situation, but justifies his role in it by saying, at least, he treats the animals with dignity in their final moments. Things take a turn for the strange when we learn that the unwanted elderly are also shipped in boxes to House of Hope to be euthanized as well.
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Akhter, Maswood. "Language and Style of Sunetra Gupta’s Fictional Narratives." Studies in ELT and Applied Linguistics 1, no. 1 (October 31, 2021): 58–70. http://dx.doi.org/10.3126/seltal.v1i1.40606.
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My aim in this paper is to offer a critical discussion on certain linguistic and stylistic aspects in the fictional pieces by Sunetra Gupta, an important Bengali diaspora author based in Oxford. In her debut novel, ‘Memories of Rain’ as well as in her others, Gupta effortlessly intersperses prose with poetry; her writing is complex, fusing stream of sensuous poetic imagery with stream of consciousness. A powerful delivery of interior monologue, figurative language, and continuous time-shifts invites the novelist’s comparison with Virginia Woolf. Memory becomes a vital player in many of her novels, be it Memories of Rain, Moonlight into Marzipan or So Good in Black. Giving it the centre stage automatically leads her towards an experimental narrative technique, since memory – a highly subjective and elastic category blending fantasy with the past – keeps intervening in the linear flow of the plot. Interestingly, her stream-of-consciousness technique transforms language and punctuation marks from normative linguistic symbols into poignant emotional tools. By exploring the limits of ambiguity in language, as I argue here, Gupta has evolved a personal literary idiom in which prose is pushed into a territory formerly accessible only to poetry. The issue of intertextuality is also discussed, with special reference to Memories of Rain where the influence and interplay of diverse texts provide the novelists context and meaning, and shape its narrative and characters.
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Boyce, Kristin. "The Turn to Logic and the Transformation of an Ancient Quarrel." Poetics Today 41, no. 1 (March 1, 2020): 83–100. http://dx.doi.org/10.1215/03335372-7974100.
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The development of an analytic tradition in philosophy is bound up with a newly intensified interest in logic, and Frege’s development of a new form of logical notation — an early form of what is now called predicate logic — is one of the conditions that made that tradition possible. At the same time, the development of analytic philosophy is also tied to a turn away from what had until that time been a natural and often mutually beneficial exchange with poetry, drama, and fiction. It is easy to assume that the turn away from literature is a necessary consequence of the turn to logic. This essay argues that in fact there are good reasons to think that if we follow the turn to formal logic through, it instead pushes philosophy back into a transformed and perhaps deeper kind of conversation with literature. The terms that organize this renewed conversation are those of a shared preoccupation not with certain ideas or content but with the power of form. The upshot is that the turn to formal logic returns philosophy to a transformed version of the “ancient quarrel” with which it began.
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HOBDEN, FIONA. "History Meets Fiction in Doctor Who, ‘The Fires of Pompeii’: A BBC Reception of Ancient Rome on Screen and Online." Greece and Rome 56, no. 2 (September 14, 2009): 147–63. http://dx.doi.org/10.1017/s0017383509990015.
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‘Ancient Rome!’ The door of the iconic police box squeaks open. The camera pans, following a dark-haired man as he emerges, pushes through a curtained doorway, and, with a glint in his eye, glee in his smile, and a touch of London in his voice, announces their destination to his redhead companion. So begins ‘The Fires of Pompeii’, the second episode in the fourth season of the current BBC (British Broadcasting Corporation) science-fiction drama Doctor Who. And so, no doubt, began the scribbling of pens on notebooks, as classicists who examine popular receptions of ancient Greece and Rome recognized a fresh opportunity to explore the dynamics of modern engagements with the classical world. At the time of broadcast, I was ensconced in my Liverpool office, writing the final lecture of a new undergraduate module devoted to Roman society. The topic was ‘Receptions of Roman Life’. My plan was to contrast depictions of Roman life in different media from distinct periods to encourage our students to recognize how modern reconstructions of Roman society are variously informed by questions of authority, genre, and cultural contexts. Serendipitously, ‘The Fires of Pompeii’ provided an engaging contemporary reception of the Roman world on television.
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Bambini, Karl Kristian Swane. "Norwegian Futurisms: Posthumanism and the Norwegian Nordic Model in Tor Åge Bringsværd’s "Du og Jeg, Alfred" and "Alfred 2.0"." Ecozon@: European Journal of Literature, Culture and Environment 14, no. 2 (October 29, 2023): 70–89. http://dx.doi.org/10.37536/ecozona.2023.14.2.5034.
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In Norway, much of the Science Fiction published over the last two decades has been dystopian and focused on the future effects of climate change on society. In light of this trend, this article explores how the ecodystopian duology, Du og jeg, Alfred: Et tidsbilde (2020) and Alfred 2.0 (2022), written by Tor Åge Bringsværd under the pseudonym Edgar Burås, reflects on and criticizes the Norwegian Nordic model, particularly in relation to Norway’s oil wealth, social welfare, consumerism, and ecological concerns. As both novels mobilize characters and technologies that blur and confuse the boundaries of the human, the posthumanist theories of Donna Haraway are utilized in interpreting their cultural and socio-political symbolism. Additionally, these novels also serve as an intertextual update to Astrid Lindgren’s Emil i Lönneberga series (1963-1970), with the traditional boundaries of familial relationships pushed into posthuman notions of gender, age, and species. This article ultimately argues that the ecodystopian setting and posthuman characters posit an intersectional diversity and multispecies kinship that challenge notions of ecological and social sustainability in the Norwegian Nordic model. This article begins by introducing Bringsværd and the core texts, then concretizes the Norwegian Nordic model and explores the ecodystopian setting in light of neoliberalism and nationalism, and concludes with a discussion of posthumanism and intertextuality.
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Principe, Jesus Deogracias. "The Decency of Albert Camus." Renascence 72, no. 2 (2020): 99–120. http://dx.doi.org/10.5840/renascence20207228.
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This essay explores the place of decency (l’honnêteté) and the decent man (l’honnête homme) in the moral and religious thought of Albert Camus. Focusing primarily on the major fictional works (The Stranger, The Plague, and The Fall), we consider how Camus employs the semantic ambiguity inherent in the notion of being decent, and then develops this into a normative ethical call characterized by responsibility and solidarity. We then explore further how Camus pushes the envelope to make us reflect on whether decency is even possible, both in the sense of addressing the difficulty of taking on moral responsibility, as well as calling into question the decency of the religious mentality. We conclude with reading in Camus not so much a critique as a challenge for the Christian to be true to herself, her ethic, and her faith.
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Tiessen, Paul. "Memoir and the Re-reading of Fiction: Rudy Wiebe’s of this earth and Peace Shall Destroy Many." Text Matters, no. 1 (November 23, 2011): 201–15. http://dx.doi.org/10.2478/v10231-011-0015-6.
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Canadian novelist Rudy Wiebe's award-winning memoir, of this earth: A Mennonite Boyhood in the Boreal Forest (2006), invites readers into a warm subjective realm in which a meditative Wiebe (b. 1934) recounts his growing-up years from birth to age thirteen. As self-reflexive "rememberer," Wiebe explores the sensate freshness of a boy's ways of seeing, touching, and, not least, hearing the world. The young Wiebe lives with his parents and siblings and neighbours in an emotionally warm Christian community of 1920s immigrants to Canada who have fled from the Soviet Union in the wake of the 1917 Revolution and who struggle for economic survival in a remote corner of rural Saskatchewan during the 1930s and 1940s. But Wiebe's memoir of childhood is not only autobiography and social history; it is also a linguistic text that subtly invites readers to look beyond its textual boundaries to his earlier work. In particular, it has the effect of carrying alert readers back to the setting—at least physically and geographically if not altogether socially and culturally—of Wiebe's first novel, Peace Shall Destroy Many (1962). That early novel was a caustic work notoriously controversial especially among Mennonite readers in Canada when it appeared almost a half-century ago. The 2006 memoir—with intertextual allusion—invites readers to recall especially one layer of that early novel barely noticed by readers, a layer eclipsed and partially hidden by the dominant narrative. Specifically, it invites readers to see the virtually sinless and prelapsarian world of the idealistic young Hal Wiens whose idyllic life in the fictional spaces of Peace Shall Destroy Many goes unnoticed because it is so very much in the shadow of the doubts and tensions that inform the much larger world of his spiritually troubled older brother, nineteen-year old Thom Wiens. The memoir pushes readers into re-thinking the reception of that novel, and into finding anew beneath its severe and satiric treatment of the austere adult world the linguistic and spiritual joy of life given shape in the playful perceptions of the young Hal. The memoir becomes a stimulus for a transformational re-reading of the novel. This essay explores the two works in light of each other and of conventions that govern the two respective genres. It attempts, also, to account for the reading strategies that Wiebe's 2006 memoir proposes to readers of his first novel, and for key influences informing the two respective works.
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Walonen, Michael K. "Enrique Mendieta and the Ghosts of Leftism Past: The Aftereffects of Mexico’s Dirty War in Élmer Mendoza’s Detective Fiction." Latin American Perspectives 47, no. 6 (October 8, 2020): 77–86. http://dx.doi.org/10.1177/0094582x20951790.
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The continuance of the revolutionary strife of Mexico’s dirty war into the present day, both as a legacy and in the form of its survivors, resonates strongly in the work of the novelist Élmer Mendoza. Mendoza’s early novel Janis Joplin’s Lover uses its protagonist to portray a 1970s Mexico torn between a revolutionary path of collective social amelioration and the corrupt, mercenary self-interest embodied by Mexican narco-traffickers, with the country pushed toward the latter through the repression of student activists by the Mexican state. Mendoza’s five subsequent novels that center on the exploits of detective Lefty Mendieta focus on the fallout from this period of repression, using the figure of Lefty’s brother Enrique, a former leftist guerrilla, to represent a lost (but not totally lost) egalitarian and socially just alternative to the neoliberal political economy that has ravaged the living conditions of most Mexicans for almost four decades. La continuada lucha revolucionaria en el marco de la guerra sucia que ha caracterizado a México hasta la hoy en día, tanto como legado a la vez que en la presencia de sus sobrevivientes, resuena poderosamente en la obra del novelista Élmer Mendoza. La primera novela de Mendoza, Janis Joplin’s Lover, utiliza a su protagonista para retratar a México en la década de 1970, dividido entre un camino revolucionario de mejora social colectiva y el corrupto y mercenario interés propio encarnado por los narcotraficantes mexicanos; el país se ve empujado en esta última dirección a través de la represión de los activistas estudiantiles por parte del Estado. Las cinco novelas posteriores de Mendoza, centradas en las hazañas del detective Lefty Mendieta, se centran en las consecuencias de este período de represión y emplean la figura de Enrique, el hermano de Lefty, un ex guerrillero izquierdista, para representar la pérdida (si bien no total) de una alternativa igualitaria y socialmente justa en oposición a la economía política neoliberal que mermado las condiciones de vida de la mayoría de los mexicanos durante casi cuatro décadas.
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Peacock, Christopher. "Unsavory Characters." Prism 18, no. 2 (October 1, 2021): 385–408. http://dx.doi.org/10.1215/25783491-9290655.
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Abstract From early works such as “Ralo” (1997) to the more recent “Black Fox Valley” (2012), the acclaimed Tibetan author Tsering Döndrup has demonstrated a consistent interest in the impact of the Chinese language on Tibetan life. This article examines the techniques and implications of Tsering Döndrup's use of Chinese in his Tibetan language texts, focusing on his recent novella “Baba Baoma” (2019), the first-person account of a rural Tibetan boy who attends a Chinese school and ends up stuck between two languages. In a major departure from Tsering Döndrup's previous work on the language problem, this text directly incorporates untranslated Chinese characters, blending them with Tibetan transliterations and Hanyu Pinyin (i.e., the Latin alphabet) to create a deliberately disorienting linguistic collage. This article argues that this latest work pushes Tsering Döndrup's previous experiments to their logical conclusion: a condition of forced bilingualism, in which the author demands of his readers fluency in Chinese in order to access his Tibetan language fiction. This critique of the Sino-Tibetan linguistic crisis puts the author's work into conversation with global postcolonial literatures and the politics of resistance to language hegemony. By demonstrating the Tibetan language's capacity for literary creation, the story effectively resists the hegemony it depicts, even while it suggests that the Tibetan literary text itself is in the process of being fundamentally redefined by its unequal encounter with the Chinese language.
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Deepak, T. R. "The Inner Quandary of Woman in Daniel Defoe’s Moll Flanders." Shanlax International Journal of English 9, no. 3 (June 1, 2021): 46–49. http://dx.doi.org/10.34293/english.v9i3.3793.
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Daniel Defoe is an enchanted incinerator of English literature sprung during the initial years of eighteenth century. His applauded Moll Flanders (1722) is professed as picaresque in literary vegetation. He has emotionally painted the commotion of a solitary, imprudent and prevalent female distinct against an inimical and droopy humanity. As a matter of datum, the female chief strolls into the alleyway of assorted catastrophes. She has borne the humanity either in an orthodox or warped mundane. All these archetypes of women have shed light in the fiction even before the initiation of feminist movements athwart the realm. These movements have engrossed the intellect of community and sedated as operational. At regular intervals, these have performed more elegant and redundant than being operative.Moll Flanders is not a typical incarnation of feminist thoughts. It has never strained to sketch an itinerary for the relegated female personality to outshine her eccentricity. Yet, it is indubitably pro-woman and reconnoiters a female character with the reputation of protagonist. The farsighted image of woman with grander tenets of empathy and sympathy is blossomed. In the contemporary habitat, the novel may not seem like far-reaching as it pushes the female lead to imitate and regret with ceaseless kinks and contraventions. But the novelist is ahead of his epoch in aiding his female protagonist to gallop and endure the probabilities amidst dejection and misfortunes. Hence, the research ornate has through an endeavour to enchant the inner quandary of woman in a masculine captivated sophistication with reference to Daniel Defoe’s Moll Flanders.
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Menang PhD, Ophilia Abianji. "The Modern African Woman and the Politics of Reconciling Career and Domestic Activities." International Journal of Social Sciences and Humanities Invention 6, no. 4 (April 15, 2019): 5384–90. http://dx.doi.org/10.18535/ijsshi/v6i4.03.
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In early African male fiction, women were not allowed to go to school. They were pushed to the periphery where they occupied marginal spaces. They had no voice in public. They were expected to perform household duties concerning childbearing and domestic functions. These are roles that domesticated women and made them dependent on their husbands for survival. However, urbanization and the spread of female education has given women more space and opportunities for survival and livelihood. In addition to culturally assigned roles, women are now educated and have acquired skills which enable them to have paid jobs and pursue a career in different walks of life thereby rendering them economically empowered and making positive contributions to the growth of their communities and families. This blend of domestic activities and pursuing a career is not without its own challenges. This article aims at examining the politics of reconciling career and domestic activities through the prism of Alobwed’Epie’s Patching the Broken Dream. It looks at the challenges that women/widows go through as wives, mothers and being career women. It reveals how the woman/widow rises above these challenges and reconstructs her image. Informed by the womanist ideology of Micere Mugo, E Modupe Kolawole and Chikwenye Ogunyemi, this paper justifies the view that domestic activities and career in the novel under study is challenging for women especially widows. However, these challenges do not limit the woman. They make her strong and develop hidden potentials that change their perception about life and people’s view about women and widows.
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Ling, Xiaoqiao. "Crafting a Book: The Sequel to The Plum in the Golden Vase." East Asian Publishing and Society 3, no. 2 (2013): 115–52. http://dx.doi.org/10.1163/22106286-12341247.
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Abstract This paper examines the book form of the original woodblock edition (ca. 1660) of Xu jin ping mei 續金瓶梅 (The sequel to Jin ping mei), a sequel to the acclaimed yet controversial sixteenth-century vernacular novel Jin ping mei 金瓶梅 (Plum in a golden vase). Critics tend to hold Xu jin ping mei in low regard because the sequel’s extensive citations from religious texts and morality books disrupt the flow of the narrative. As this paper shows, such ‘weakness’ is part of the sequel writer’s conscious exploration of the productive gap between the text and the book as an object—cover page, the front matter, illustration and fiction commentary all contribute to the totality of the bound text as an object of connoisseurship. Another indicator of the author-editor’s effort at creating the sequel’s own social reception is a list of cited books that captures the full spectrum of textual production in the seventeenth century, thereby inscribing Xu jin ping mei in a cultural matrix that accommodates multiple modes of reading with a sense of hierarchy. To situate Xu jin ping mei in the context of the burgeoning print industry will help us go beyond the textual level to assess the sequel as an important cultural phenomenon. It is exactly the desire to cash in on the popularity of the original masterworks that pushes author, editor, and publisher to craft the book as a referential field in which the implied author engages anticipated readers of different dispositions to comment on, extend, and improve the original work.
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Chekushin, Vikentiy V. "Third Wheel? Attempts at Literary Canonization of A.N. Tolstoy in the 2000–2020s." Literary Fact, no. 1 (31) (2024): 242–60. http://dx.doi.org/10.22455/2541-8297-2024-31-242-260.
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In the early 1990s, against the background of the loss of the authority of Soviet culture, the name of Alexey Tolstoy fell out of the core of the national literary canon. There was a consensus regarding the figure of the writer, first of all, as an opportunist who collaborated with the authorities and fulfilled a “social order.” Such assessments often had an emotionally colored character and pushed the discussion about the poetics of Tolstoy’s texts into the background. However, since the beginning of the 2000s, there has been a shift towards a more objective assessment of the writer’s role in the national literary process. Especially the publication of Tolstoy’s biography, written by A.N. Varlamov, has contributed to this course. Since the same period, representatives of various institutes of canonization have actualized the discussion about Tolstoy’s place in the national pantheon of literature. This article examines the mechanisms of the writer’s canonization in the 2000–2020s. The focus of attention, first of all, was on fiction, critical, and media discourses, where there were regular mentions of Tolstoy and references to his literary texts. Despite the intensification of interest in the personality and work of the writer, it is not necessary to assert that his name has entered the core of the national literary canon. It is due to several reasons, in particular, the sharp decline in the authority of Soviet classics after the collapse of the USSR and the absence in modern Russia of systematic attempts by representatives of the major institutions of literary canonization to return Tolstoy’s figure to the national pantheon.
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Muhlestein, Daniel. "Marilynne Robinson, Wallace Stevens, and Louis Althusser in the Post/Secular Wilderness: Generosity, Jérémiade, and the Aesthetic Effect." Humanities 9, no. 2 (April 7, 2020): 30. http://dx.doi.org/10.3390/h9020030.
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In Restless Secularism (2017), Matthew Mutter points out that Wallace Stevens described three related techniques that could be used to attempt to purge secular life of its religious residue: adaptation, substitution, and elimination. Marilynne Robinson pushes back against such secularizing strategies by employing three related techniques of her own: negotiation, grafting, and invitation. She does so to attempt to bridge the gap between religious and humanistic perspectives and—in the process—mounts a spirited defense of religious faith and practice. Robinson uses a fourth technique as well: jérémiade. In its usual sacred form, jérémiade is a lamentation that denounces self-righteousness, religious hypocrisy, and social injustice. Much of what Robinson says about the Christian Right is essentially jérémiade. Robinson’s critique of parascientists is jérémiade as well, although its grounding assumptions are secular rather than sacred. While Robinson’s jérémiades against the Christian Right and against parascientists are effective in isolation, in aggregate they sometimes undercut her more generous and inclusive attempts at negotiation, grafting, and invitation. This may be because Robinson’s essays do not undergo the moderating influence of what Louis Althusser called the aesthetic effect of art, which in Housekeeping (1980), Gilead (2004), Home (2008), and Lila (2014) helps counterbalance the flashes of anger and tendencies toward judgement that periodically surface elsewhere in Robinson’s work. Taking into account the presence—or absence—of the aesthetic effect in Robinson’s work helps explain the sometimes startling differences between Robinson’s fiction and nonfiction and helps provides a new perspective from which to rethink two of the most influential postsecular readings of Robinson’s work to date: Amy Hungerford’s Postmodern Belief (2010) and Christopher Douglas’s If God Meant to Interfere (2016).
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Liao, Ping-Hui. "Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary. By June Yip. [Durham, NC: Duke University Press, 2004. 356 pp. $24.95. ISBN 0-8223-33367-8.]." China Quarterly 182 (June 2005): 456–58. http://dx.doi.org/10.1017/s0305741005370263.
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June Yip's Envisioning Taiwan considers Taiwan's emergent discourse on a national identity in light of its regionalist or nativist (hsiang-t'u) literary movement and the New Cinema which flourished in the 1970s and 1980s. The book has seven chapters, largely devoted to the work of artists such as Hwang Chun-ming and Hou Hsiao-hsien. It gives a most sensible and nuanced account of the development of post-colonial global consciousness and of the indigenization processes in post-1987, Taiwan when martial law was lifted. It argues that language, literature and cinema have played a vital part in constructing cultural nationalism. To map the critical paths in which the Taiwanese have struggled to fashion a unique cultural identity, Yip reveals how “the complexities of Taiwanese literature and film have themselves necessitated a reassessment of conventional assumptions about the local, the national, and the global” (p. 11).Democratization, indigenization and the emergence of a vigorous native consciousness provided parameters that pushed forward local demands for “creative ways to assert the island's undeniable existence as an independent entity without actually declaring itself a nation” (p. 246). According to Yip, the ascendancy of Taiwanese national consciousness was indebted to the political liberation of the 1980s, but was in fact inspired by the hsiang-t'u literature of the 1960s and 1970s. She begins with the literary debates of 1977–78 and uses Hwang Chun-ming as a prime – albeit “curious” – example of someone who provided a voice of local colour in response to capitalist lifestyles, trendy Western ideas and American cultural goods.
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Bardakçı, Tayyibe. "Towards Techno-human: A Brief History of Artificial Limbs and Organs." International Journal of Human and Health Sciences (IJHHS) 6, no. 3 (June 13, 2022): 249. http://dx.doi.org/10.31344/ijhhs.v6i3.455.
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Background: The ‘techno-human’, which is the result of combining the human body with a machine or device which we have been made familiar with through science fiction movies, is frequently perceived as a distant and futuristic concept. However, when we examine history, we realize that the techno-human is not a phenomenon unique to the future or the present, but rather has a long and significant history dating all the way back to antiquity.Objective: This study aims to detail the progression of techno-humans from antiquity to the present, by focusing on the historical development of artificial limbs and organs.Methods: In this study, a literature review ranging from the earliest examples of the human body meeting technology to today’s complex and functional artificial limb and organ technologies was conducted, and the information gathered through retrospective review of primary and secondary sources was evaluated.Results and Discussion: It is seen that people who lost their limbs as a result of amputation or disease have been using prostheses, albeit primitive, since ancient times. Today, advances in technology such as CAD/CAM and 3D printer technologies enable the production of prostheses from lighter materials and at a faster rate. Contrary to the long history of artificial limbs dating to antiquity, the development of artificial organs only began recently, during the 20th century. Artificial limbs and organs, with the use of more advanced technology, have the potential to be utilized for human enhancement in the future.Conclusion: While prostheses, implants, and complexly built artificial organs make the human body more technological and less biological, a new stage in the biography of the techno-human in which ‘enhancement’ rather than ‘treatment’ is at the forefront pushes the limits.International Journal of Human and Health Sciences Vol. 06 No. 03 July’22 Page: 249-257
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Dr O. T. Poongodi. "Cultural Ecological Attitudes in Gita Mehta’s A River Sutra." Creative Launcher 6, no. 4 (October 30, 2021): 118–24. http://dx.doi.org/10.53032/tcl.2021.6.4.19.
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One of the sparkling stars in the galaxy of Indian writers, Gita Mehta is the brightest. Her novels are written with Indian perspectives and they are explorations of the tension generated by the east-west encounters. Her novel A River Sutra is a colourful fictional account of India that mirrors Indian history and culture. It connects Indian mythology with various depictions of love in its many aspects. It told through a pen-pusher and his encounter with six pilgrims on the banks of the Narmada. In Western Feminist studies, the woman is always portrayed with a quest for freedom from the urban exploitative society to nature. It is appealing to determine that this concept receives a new dimension in a different cultural context. In this novel, Mehta has shifted her focus from the interactions between India and the west to exploring the diversity of cultures within India. Gita Mehta uses the Narmada as the thread, which holds together the main story and the six sub-stories. The present paper discusses in detail the theory of eco-criticism and it aims at highlighting an understanding of various terms like green studies and nature studies, as well as describes in fair detail, the different subfields of eco-criticism, namely, Cultural ecology, Eco-feminism and Gyno-Ecology.
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Gobinskaya, A. A. "―SHADOW AND BONE‖: NEGATIVE SPACES OF MEAN-ING." History: facts and symbols, no. 3 (September 14, 2021): 94–107. http://dx.doi.org/10.24888/2410-4205-2021-28-3-94-107.
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The debut novel Shadow and Bone by Leigh Bardugo promises the magical journey through the world of fictional country Ravka, which was inspired by the Russian Empire of the 1800s. In this article, I discuss three negative spaces outlined by Bardugo‟s text. These are negative spaces of Russian culture, politics and dynamics revealed by the long absence of Russian translation of the novel. Having this possible interpretation in mind, I cannot speculate that Bardugo deliberately chose to let the body of her work outline and shape the negative spaces discussed in this article. The reception potential of her work is wider and more diverse than the author intended. She tries to prune it back to the shape of her original intentions, interfering with the process of the reader‟s meaning-making. Thus, in a certain way, she pushes back against the concept of the “death of the author”. With this dichotomic process, I suggest stepping away from the author‟s intentions and tracing the subtle trends of the market, that contributed to Bardugo‟s popularity. The discussion I want to open is not whether Bardugo intended to create a book that exploits Russian culture without doing justice to it, hinting towards a New Cold War, and separating the world to the familiar poles of the West and East.