Relevant bibliographies by topics / Puzzles in fiction

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Puzzles in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Puzzles in fiction"

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Engisch, Patrik. "Patchwork Puzzles and the Nature of Fiction." Estetika: The European Journal of Aesthetics 56, no. 1 (March 1, 2019): 28. http://dx.doi.org/10.33134/eeja.182.

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Bissell, Blake, Mo Morris, Emily Shaffer, Michael Tetzlaff, and Seth Berrier. "Vessel: A Cultural Heritage Game for Entertainment." Archiving Conference 2021, no. 1 (June 18, 2021): 1–6. http://dx.doi.org/10.2352/issn.2168-3204.2021.1.0.2.

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Museums are digitizing their collections of 3D objects. Video games provide the technology to interact with these objects, but the educational goals of a museum are often at odds with the creative forces in a traditional game for entertainment. Efforts to bridge this gap have either settled on serious games with diminished entertainment value or have relied on historical fictions that blur the line between reality and fantasy. The Vessel project is a 3D game designed around puzzle mechanics that remains a game for entertainment while realizing the benefits of incorporating digitized artifacts from a museum. We explore how the critical thinking present in solving puzzles can still encourage engagement of the story the artifacts have to tell without creating an historical fiction. Preliminary results show a preference for our in-game digital interaction over a traditional gallery and a desire to learn more about the artifacts after playing.
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Stowe, Simon. "Who Betrays Elizabeth Bennet?: Further Puzzles in Classic Fiction (review)." Philosophy and Literature 24, no. 2 (2000): 480–82. http://dx.doi.org/10.1353/phl.2000.0047.

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Leitch, Thomas. "The Many Pasts of Detective Fiction." Crime Fiction Studies 1, no. 2 (September 2020): 157–72. http://dx.doi.org/10.3366/cfs.2020.0018.

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Building on Tzvetan Todorov's observation that the detective novel ‘contains not one but two stories: the story of the crime and the story of the investigation’, this essay argues that detective novels display a remarkably wide range of attitudes toward the several pasts they represent: the pasts of the crime, the community, the criminal, the detective, and public history. It traces a series of defining shifts in these attitudes through the evolution of five distinct subgenres of detective fiction: exploits of a Great Detective like Sherlock Holmes, Golden Age whodunits that pose as intellectual puzzles to be solved, hardboiled stories that invoke a distant past that the present both breaks with and echoes, police procedurals that unfold in an indefinitely extended present, and historical mysteries that nostalgically fetishize the past. It concludes with a brief consideration of genre readers’ own ambivalent phenomenological investment in the past, present, and future each detective story projects.
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Foakes, R. A. "Can Jane Eyre Be Happy? More Puzzles in Classic Fiction John Sutherland." Nineteenth-Century Literature 53, no. 2 (September 1998): 245–48. http://dx.doi.org/10.2307/2902985.

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Foakes, R. A. ": Can Jane Eyre Be Happy? More Puzzles in Classic Fiction . John Sutherland." Nineteenth-Century Literature 53, no. 2 (September 1998): 245–48. http://dx.doi.org/10.1525/ncl.1998.53.2.01p0020e.

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Parvulescu, Constantin. "The Political and Economic Intervention of Non-Fiction Money Literacy Film in the Post-2008 Era." Canadian Journal of Film Studies 30, no. 1 (April 2021): 49–71. http://dx.doi.org/10.3138/cjfs-2020-0034.

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L’auteur livre la première analyse critique des illustrations contemporaines de la notion d’argent dans le cinéma documentaire et en indique l’argumentaire prédominant. L’analyse porte sur des films de littératie financière comme The Ascent of Money: A Financial History of the World (Adrian Pennick, 2009), Money and Life (Katie Teague, 2013), Money Puzzles (Michael Chanan, 2016) et Blockchain City (Ian Kahn, 2018). Elle révèle la réflexion politique et économique qui nourrit la perspective dans laquelle la question monétaire est envisagée dans le film, la façon dont y est racontée l’histoire de l’argent et décrit son rôle dans la société après 2008, et ses conclusions plaident pour une amélioration de la performance du système monétaire. Les constructions narratives, les méthodes d’enquête, la distribution des rôles, les métaphores visuelles et auditives, et les auditoires implicites de ces films sont examinés. L’auteur emploie dans son analyse trois variables complexes qui concourent à dépeindre l’angle économique et politique de chaque œuvre : niveau de formalisme, construction de l’expertise et interprétation de la crise financière.
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Huang, Yunte. "The Lasting Lure of the Asian Mystery." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 384–87. http://dx.doi.org/10.1632/pmla.2018.133.2.384.

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Among the numerous accolades and awards garnered by viet thanh nguyen's debut novel, the sympathizer (2015), the one receiving the least attention from academic critics will probably be the Edgar Award, bestowed by the Mystery Writers of America. After all, The Sympathizer boasts aesthetic achievements that far exceed the generic confines of a conventional mystery novel. Also, even in the age of cultural studies, when the divide between the popular and the elite is supposed to have all but disappeared, literary scholars, if they are honest with themselves, still hang on to the notion that there is a qualitative difference, or a hierarchy, separating literary fiction from crime fiction, the highbrow from the lowbrow. It may be true that we no longer live at a time when an eminent critic like Edmund Wilson would attack mystery novels by asserting, as he did in 1945, partly in response to Agatha Christie's popular mystery novel The Murder of Roger Ackroyd, that “with so many fine books to read …; there is no need to bore ourselves with this rubbish” (qtd. in Bradford 117). And there is more than half a century separating us from the era when Ross Macdonald, one of the most accomplished practitioners of the mystery genre as well as a trained literary scholar, lamented in his 1954 lecture at the University of Michigan, Ann Arbor, where he had received a doctoral degree in English, that “[t]hough it is one of the dominant literary forms of our age, the mystery has received very little study” (11). Even after Jacques Lacan and Jacques Derrida enshrined Edgar Allan Poe's detective short story “The Purloined Letter” as a darling of poststructuralist analysis, most literary scholars worth their salt would continue to regard crime fiction as a subpar genre, something that, as Macdonald said, is reserved for their leisure hours, akin to crossword puzzles in a newspaper (11). Or, as Wilson put it, “Who cares who killed Roger Ackroyd?” (qtd. in Bradford 117).
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Rosana Nyabuto, Christopher. "Game of Code: Challenges of Cyberspace as a Domain of Warfare." Strathmore Law Review 3, no. 1 (June 1, 2018): 49–72. http://dx.doi.org/10.52907/slr.v3i1.102.

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The military capabilities that the world witnesses in modern day armed conflicts are a sort of science fiction brought to life. Most of the techniques in cyber warfare were never thought possible, let alone anticipated in times past especially during the framing of key International Humanitarian Law (IHL) instruments. This paper analyses the challenges that cyber warfare poses to state responsibility. The analysis also discusses how the anonymity of parties in cyber warfare presents challenges to the application of existing law. The rationale for this study is the fact that cyberspace as a domain of warfare is still in its early days despite the many ambiguities and puzzles it has sparked in various circles of discussion. The study relies on literature reviews and case studies to make its salient points. Ultimately, the study argues that cyber warfare is subject to IHL; however, it breeds new possibilities that may require greater adherence to consistent legal review of weapons and greater willingness of the international community to apply IHL to this domain of warfare.
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Bell, Thomas. "Lewitscharoff’s Blumenberg – the Metaphorical Lion as an Image of Transcendent Possibility." Literatur für Leser 40, no. 1 (January 1, 2017): 1–14. http://dx.doi.org/10.3726/lfl012017k_1.

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In Blumenberg (2011), Sibylle Lewitscharoff – winner, in 2013, of the Georg-Büchner-Preis – presents a philosophy professor who regularly perceives a lion’s presence. For example, while delivering one of his lectures, “als er von seinen Karten hochblickte, sah er ihn [the lion]”.1 This arresting statement raises many questions. What exactly does the professor see? Do his students, likewise, observe this magnanimous animal sitting awkwardly in the lecture hall? No, they do not. Where then is this animal; what is its origin? This puzzles us, the readers, as much as it does the rationally minded philosopher. As we read the text, we, along with the professor, ask ourselves why we are taking this seriously; we are reading about an “absurd” occurrence in a fictional text. What does this have to do with reality? Lewitscharoff’s novel, I would suggest, uniquely complicates reality. Her text plays with the sentiment that twenty-first century readers and thinkers are still mystified about the irrational and the religious within the real. This persistent interest in understanding the presence (or absence) of the illogical – the unexplainable – in the modern world receives form in and through the picture Lewitscharoff’s novel projects. Lying between fiction and reality, the lion – the dominant picture textually engendered – demands, therefore, interpretation. This lion, I assert, is a linguistically constructed image stemming from the mind of the fictional Blumenberg who lives and teaches philosophy in the provincial German city of Münster. Lewitscharoff bases the fictional Blumenberg off the historical Hans Blumenberg, in whom she showed initial interest in her fictional autobiography Apostoloff (2009), where she referred to him as a “Löwenphilosoph.”2 This philosopher, fascinated with lions, propagated, in one of his seminal works, various paradigms for understanding metaphors, Paradigmen zu einer Metaphorologie (1997).3 Employing this philosopher, whose inquiries concerned investigations into the nature of a metaphor, Lewitscharoff’s narrator explores how her protagonist creates an image that actualizes one of Hans Blumenberg’s unique paradigms, namely an “absolute metaphor,” indicative, in this novel, of transcendent possibility. To provide clarity at the outset of this article, I will use “Hans Blumenberg” when referring to the historical philosopher, who lived from 1920 to 1996, and “Blumenberg” when discussing the fictional character.
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Dissertations / Theses on the topic "Puzzles in fiction"

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Malatji, Permission Agosi. "Examining a comparative depiction of crime in Smith and Nesbo's selected novels : an afro-western perspective." Thesis, University of Limpopo, 2019. http://hdl.handle.net/10386/3192.

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Thesis (M. A.(English Studies)) --University of Limpopo, 2019
This study explores a literary comparative examination of crime between Africa and Scandinavia, with special attention to Botswana and Norway. Smith’s and Nesbo’s selected novels are used as primary texts for analysis. The novels are, therefore, set in two different areas. These writers depict crime from the African and European perspectives. Chapter One deals with a brief introduction, and the aim and objectives of the study. It also expands on the theoretical background and provides definitions of terms that are used in this paper. Chapter Two presents views from various scholars on crime. This study is based on an Afro-Western approach of literary analysis. In other words, there are thoughts by both African and Western writers which assist in determining possible and noticeable similarities and differences, on the issue of crime. Chapter Three analyses crime from an African perspective while Chapter Four discusses crime from a Western point of view. Each of these chapters reflects on crime through character portrayal and depiction within its context. Chapter Five is a comparative analysis of both novels. The chapter identifies possible similarities and differences, mainly of the depiction of crime in different settings – Africa and Scandinavia, committed by blacks and whites. However, the structural and linguistic approaches of both the novels are also reviewed, assisting in discovering the life, in comparison, of the authors. The last chapter (Chapter Six), is a conclusion of the study and future suggestions. Basically, the study argues that blacks only should not be portrayed as perpetrators, but that whites too can be culprits. Again, there should be an equal of measurement on the weight and honour of the two races. Lastly, the moral is that without considering skin colour, financial and social backgrounds, justice must be served equally. Hence, whoever is caught in any form of wrongdoing, they must be given the appropriate punishment – regardless of race, colour, religious creed, gender, financial and social background. Key Words: Crime, Afro-Western, Marxism, suspense, detective, identity, puzzle, fix, accumulation, class, characterisation and setting
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Murillo, Chávez Javier André. "The incomplete puzzle. The missing rule and ruling about the protection by copyright of characters and objects of the work." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/115696.

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This article analyzes the missing rule and ruling about the protection of characters and fictional objects which are part of works covered by copyright. The author systematizes the criteria used in the administrative jurisprudence for conflicts between the intellectual property and the industrial property to extract specific rules in cases that involve fictional objects and characters, establishing and proposing criteria to find out the originality of these elements.
El presente artículo analiza la omisión normativa y jurisprudencial sobre la protección de los personajes y objetos de ficción que son parte de las obras protegidas por el régimen de derecho de autor. El autor sistematiza los criterios utilizados en los casos de jurisprudencia administrativa en conflictos existentes entre la propiedad intelectual y la propiedad industrial para extraer las reglas específicas existentes en casos que involucran objetos de ficción y personajes, estableciendo y proponiendo criterios para encontrar la originalidad de estos elementos.
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Merino, Serrat Imma. "Subjectivitat i autorepresentació en el cinema d'Agnès Varda." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/109378.

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Agnès Varda ha deixat empremtes visibles de la seva subjectivitat en una filmografia desenvolupada pràcticament en sis dècades. El propòsit és abordar el conjunt de l’obra cinematogràfica de Varda rastrejant-hi aquestes empremtes subjectives, lligades a una manifestació de l’autoria, a través dels comentaris escrits i dits per la mateixa cineasta inscrits en els films; i també fer atenció a les diverses formes d’autorepresentació en relació amb la projecció de la cineasta en diversos personatges de les seves ficcions i la presència física d’ella mateixa a les imatges. Analitzant aquests elements, el text vol considerar les aportacions de Varda a la modernitat cinematogràfica en la mesura que, amb una gran llibertat creativa, ha inventat noves formes posant en qüestió les convencions genèriques, entre les quals la divisió entre documental i ficció.
Agnès Varda has left visible imprints of her subjectivity in her filmography developed over the last six decades. The objective of this doctoral thesis is to consider her entire cinematograghic work scrutinizing these subjective imprints and, through the filmmaker’s voice on off commentaries, linking them to a manifestation of authorship and the desire to exemplify that the world is represented through a singular point of view. Attention is called to the diverse forms of self-representation in the projection of the filmmaker through diverse characters as well as her physical presence in images. Analizing these elements, this text considers Varda’s contribution to modern cinematography to the extent that, through great creative freedom, she has invented new forms which question generic conventions, amongst them the distinction between documentary and fiction.
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Books on the topic "Puzzles in fiction"

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Daniela, Dogliani, ed. Pirate puzzles. London: QED, 2012.

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Daniela, Dogliani, ed. Fairy puzzles. London: QED, 2012.

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Daniela, Dogliani, ed. Princess puzzles. London: QED, 2012.

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Hall, Parnell. $10,000 in small, unmarked puzzles: A puzzle lady mystery. Waterville, Me: Thorndike Press, 2012.

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Kim, Blundell, ed. Puzzles to cuddle. London: Hippo, 1993.

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Arsenic and old puzzles: A puzzle lady mystery. Detroit: Gale Cengage Learning, 2013.

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John, Sutherland. The literary detective: 100 puzzles in classic fiction. New York: Oxford University Press, 2000.

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The Potato Chip Puzzles. New York: Penguin USA, Inc., 2009.

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Berlin, Eric. The potato chip puzzles. New York: G.P. Putnam's Sons, 2009.

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Is Heathcliff a murderer?: Puzzles in nineteenth-century fiction. Oxford: Oxford University Press, 1998.

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Book chapters on the topic "Puzzles in fiction"

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Nodelman, Perry. "Alternating Narratives as Puzzles." In Alternating Narratives in Fiction for Young Readers, 21–41. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50817-7_2.

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MacDonald, Ronald. "Three Exchange Rate Puzzles: Fact or Fiction?" In Exchange Rates and Macroeconomic Dynamics, 9–60. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582699_2.

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Knight, Stephen. "Forming the Clue-puzzle." In Crime Fiction since 1800, 80–108. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-02021-5_4.

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Mitchell, Lee Clark. "Less Time in Can’t and Won’t." In More Time, 153–87. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198839224.003.0004.

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Lydia Davis’s “flash fictions” shift our attention from narrative to verbal craft, evident in her resolute choice of words, syntax, and sentence rhythms. An abbreviated style compels readers to focus on fully stopped moments, an effect that defies narrative progression much as do Joy Williams’s and Alice Munro’s discontinuous stories. Like them as well, the development of a later style is a matter of branching into new directions—in her case, continuing a microscopic fascination with individual words and their resonances, but now shifting toward found objects (Flaubert’s letters), or letters of complaint, or grammatical puzzles: all as “witness” narratives revealing the ways in which the mundane minutiae of life is transformed into art. The borders between fiction and nonfiction become less clear, as Davis presses on the boundaries of what a short story can be.
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Emmott, Catherine, and Marc Alexander. "Manipulation in Agatha Christie’s detective stories: Rhetorical control and cognitive misdirection in creating and solving crime puzzles." In Stylistic Manipulation of the Reader in Contemporary Fiction. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350062993.0016.

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Howard, June. "Regionalisms Now." In The Center of the World, 161–217. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821397.003.0005.

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The fifth chapter of The Center of the World: Regional Writing and the Puzzles of Place-Time is titled “Regionalisms Now.” It mobilizes the analytic categories developed in previous chapters in an examination of place-focused cultural production in several media. Examples are drawn from television, popular romance and mystery novels, and literary fiction. These works are not treated as embodiments of an ideal genre or lineal descendants of local color; the argument is that the concept of region remains relevant for contemporary culture and that narrations of place continue to project temporality. The chapter offers extended readings of the authors Ernest Hebert and Wendell Berry, and posits the parable of the global village as an emerging genre.
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Howard, June. "Local Knowledge and Book-Learning." In The Center of the World, 47–96. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821397.003.0002.

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The second chapter of The Center of the World: Regional Writing and the Puzzles of Place-Time, titled “Local Knowledge and Book-Learning,” offers a revision of received American literary history. It argues that the figure of the schoolteacher personates the contested connection between the particular place and the world beyond. The one-room schoolhouse, in particular, is a site where provincial and metropolitan or cosmopolitan knowledges meet. These topoi play an important role in local color fiction in the nineteenth century, and persist into later periods. The chapter includes Southern, Midwestern, Appalachian, and New England examples; the difference between African-American and Native American representations proves especially revealing. The chapter also considers the implications of this work for college and university teachers, arguing for acknowledgement of their commonalities with primary and secondary school teachers.
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Phillips, John W. P. "Notes from the Underground: Microwaves, Backbones, Party Lines and the Post Office Tower." In Cold War Legacies. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474409483.003.0012.

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This chapter links the essential parasitism of cold war systems to some general trends of 20th century telecommunications (economically motivated service-oriented multi-media). Certain (existential) fictions of the second half of the century explore and instantiate the peculiar logic of the parasite. The chapter draws out the implications of an ethics grounded in the attempt to deal with this logic and questions where such attempts, and the desires that drive them, might lead. These ethical concerns are connected via technological analysis to the 1956 plan for a radio link (known as Backbone) running north and south through the UK, avoiding large towns and meant to provide a safe route for communications vital to the prosecution of a war. The conjunction of existentialist fiction with the cold war technology ties together a triad of puzzles of the era: communication, existence and the problem of other minds. But the problems have since shifted—the rational subject now comes into being belatedly as an interrupter, a parasite, displacing or replacing the previous parasite. The parasitical arrangement does not follow the formal order of subject and object but occurs intersubjectively, producing its subjects in the process and figuring a fundamental alteration in social relations.
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Hom, Andrew R. "Methodologies." In International Relations and the Problem of Time, 133–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850014.003.0006.

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Chapter five addresses key recommendations for how to do IR research. After highlighting the laboratory as a social scientific timing talisman—a place cleansed of the supposedly negative effects of time—it juxtaposes this ideal against the methodological precepts of neopositivism, critical realism, and interpretivism. Despite significant diversity, these approaches grapple with time by developing narratives of less “time-bound” realms to help reason from complex and dynamic phenomena to scientifically viable explanations. IR methodologies rely on narrative timing techniques to unfold a realm more intelligible, manageable, and inhabitable than the brute world from which they draw their research puzzles. Indeed, various knowledge warrants depend on this. Treating methodologies as timing proposals upends conventional IR wisdoms, exposing neopositivism as a science fiction predicated on time travel, critical realism as a brand of theology, and interpretivism as an empirical and realistic approach to social scientific inquiry.
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Matravers, Derek. "Narrators, Impossible fictions, and the ‘Fictionality Puzzle’." In Fiction and Narrative, 118–45. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199647019.003.0009.

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