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Journal articles on the topic 'Puzzles in fiction'
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1
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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Franzén, Nils. "A Sensibilist Explanation of Imaginative Resistance." Canadian Journal of Philosophy 51, no. 3 (April 2021): 159–74. http://dx.doi.org/10.1017/can.2021.10.
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AbstractThis article discusses why it is the case that we refuse to accept strange evaluative claims as being true in fictions, even though we are happy to go along with other types of absurdities in such contexts. For instance, we would refuse to accept the following statement as true, even in the context of a fiction: (i) In killing her baby, Giselda did the right thing; after all, it was a girl.This article offers a sensibilist diagnosis of this puzzle, inspired by an observation first made by David Hume. According to sensibilism, the way we feel about things settles their evaluative properties. Thus, when confronted with a fictional scenario where the configuration of non-evaluative facts and properties is relevantly similar to the actual world, we refuse to go along with evaluative properties being instantiated according to a different pattern. It is the attitudes we hold in the actual world that fix the extension of evaluative terms, even in nonactual worlds. When engaging with a fiction, we (to some extent) leave our beliefs about what the world is like behind, while taking our emotional attitudes with us into the fiction.To substantiate this diagnosis, this paper outlines a sensibilist semantics for evaluative terms based on recent discussion regarding predicates of personal taste, and explains how, together with standard assumptions about the nature of fictional discourse, it makes the relevant predictions with respect to engagement with fictions.
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Intan, Tania. "KOMPARASI BUDAYA JEPANG DAN PRANCIS MELALUI KOMIK DETEKTIF." Jurnal Bahasa Rupa 2, no. 1 (October 28, 2018): 25–33. http://dx.doi.org/10.31598/bahasarupa.v2i1.214.
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Psychologically, humans have a tendency to love reality and fiction because of life in between. With its unlimited imagination, humans can choose the preferred model of reality or fiction. If he chooses to be a good observer, a good and patient guesser in waiting for answers to important questions, the detective story can be an interesting reading alternative. In general, the detective story developed along with the rapid urbanization as a result of the industrial revolution. Life in big cities becomes insecure because of the increasing population density, unemployment, poverty and crime. To be able to reduce the saturation and tension experienced everyday, the public also entertain themselves with reading. Apparently people love reading about mysterious or even frightening events, because it always ends with a rational explanation of the various puzzles that cling to the reading. The crime-themed book makes readers familiar with the presence of criminals and law enforcers who are hunting him. Comics also called 'image literature', can also be a medium of telling of crimes favored by various circles. In this paper, we will discuss the phenomenon of the existence of detective comics in France and Japan with cultural comparative methods and studied with relevant theories. The results showed that because they came from different cultural backgrounds and published times, several things were found that showed differences between French and Japanese detective comics, including those related to characterization, public, story and cultural backgrounds, and comic formats. While the things that are common among them are the profession of detective figures who work more independently and prominently, and the presence of local police who are supportive of the character's movements, despite the fact that they often arrive late at the scene.
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Thomas, Deborah A. "THACKERAY, CAPITAL PUNISHMENT, AND THE DEMISE OF JOS SEDLEY." Victorian Literature and Culture 33, no. 1 (March 2005): 1–20. http://dx.doi.org/10.1017/s1060150305000707.
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VANITY FAIRIS A NOVEL OF ENIGMAS. In particular, after finishing the book, readers have often wondered why Thackeray refuses to tell us clearly whether or not Becky actually kills Joseph Sedley in chapter 67–a question recently given prominence by John Sutherland as one of the “Great Puzzles in Nineteenth-Century Literature” (66–72). The explanation most commonly given for Thackeray's evasiveness on this point is that such unanswered questions inVanity Fairare part of the artistry of this unconventional work of fiction, a book that A. E. Dyson has described as “surely one of the world's most devious novels” (76). This view ofVanity Fairas a novel of narrative legerdemain–intended to keep the reader constantly alert and pondering what is being shown (or concealed)–is certainly true. However, an additional possible explanation for Thackeray's ambiguity on the subject of Jos's death also ought to be considered. This explanation lies in Thackeray's horrified reaction to the public execution of François Benjamin Courvoisier on 6 July 1840. The echoes between Thackeray's appalled description of the events of that morning and his subsequent famous novel suggest that he privately conceived of Becky as murdering Jos. The echoes also suggest that one reason why Thackeray handled this fictional murder obliquely is that, by the time of writingVanity Fair, he had come to believe that, although executions might occur, they should not take place in public. Exploring the subtle connections between Thackeray's profound revulsion at the death of Courvoisier and Thackeray's later treatment of Jos's death gives deeper meaning to the intentional ambiguities in chapter 67. These connections make the ambiguities surrounding the death of Jos part of a widespread debate over capital punishment in the 1840s and have significant ramifications in terms of the parallel between public executions and pornography and with regard to the role of Becky in this novel.
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Brooke, M. H. "Fiction: The puzzler." Neurology 62, no. 11 (June 7, 2004): 2140–42. http://dx.doi.org/10.1212/01.wnl.0000127709.85765.a3.
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Dobrescu, Caius. "Identity, Otherness, Crime: Detective Fiction and Interethnic Hazards." Acta Universitatis Sapientiae, Philologica 5, no. 1 (July 1, 2013): 43–58. http://dx.doi.org/10.2478/ausp-2014-0004.
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Abstract The topic of Otherness has been investigated from the point of view of popular culture and popular fiction studies, especially on the basis of the multiracial social environments of the United States. The challenges of addressing real or potential conflicts in areas characterised by an ethnic puzzle are to some extent similar, but at the same time differ substantively from the political, legal, and fictional world of “race.” This paper investigates these differences in the ways of overcoming ethnic stereotyping on the basis of examples taken from post-World War II crime fiction of Southern Europe, and Middle East. In communist and post-communist Eastern Central Europe there are not many instances of mediational crime fiction. This paper will point to the few, although notable exceptions, while hypothesizing on the factors that could favor in the foreseeable future the emergence and expansion of such artistic experiments in the multiethnic and multicultural province of Transylvania.
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Friend, Stacie. "Fiction and Emotion: The Puzzle of Divergent Norms." British Journal of Aesthetics 60, no. 4 (April 9, 2020): 403–18. http://dx.doi.org/10.1093/aesthj/ayaa010.
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Abstract A familiar question in the literature on emotional responses to fiction, originally put forward by Colin Radford, is how such responses can be rational. How can we make sense of pitying Anna Karenina when we know there is no such person? In this paper I argue that contrary to the usual interpretation, the question of rationality has nothing to do with the Paradox of Fiction. Instead, the real problem is why there is a divergence in our normative assessments of emotions in different contexts. I argue that explaining this divergence requires a more nuanced account of the rationality of emotion than has previously been proposed. One advantage of my proposal over alternatives is that it helps to explain one way we can learn emotionally from fiction and imagination.
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Gilmore, Dehn. "“THESE VERBAL PUZZLES”: WILKIE COLLINS, NEWSPAPER ENIGMAS, AND THE VICTORIAN READER AS SOLVER." Victorian Literature and Culture 44, no. 2 (May 10, 2016): 297–314. http://dx.doi.org/10.1017/s1060150315000637.
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In 1861, in a reviewof Wilkie Collins'sThe Woman in White, a critic for theSpectatorcomplained that, “We are threatened with a new variety of the sensation novel … the whole interest of which consists in the gradual unraveling of some carefully prepared enigma” (“The Enigma Novel” 20). He was hardly the only reviewer to use a vocabulary of “puzzlement” or “enigma” when discussing Collins's work. Whether we look to an earlier review ofThe Woman in Whiteto find Collins faulted as “not a great novelist … the fascination which he exercises … [is] that he is a good constructor. Each of his stories is a puzzle, the key to which is not handed to us till the third volume” (Rev. ofThe Woman in White249) – or whether we turn to a critic ofThe Moonstone, who found Collins and his latest production “[un]worthy”: “We are no especial admirers of the department of art to which he has devoted himself, any more than we are of double acrostics or anagrams, or any of the many kinds of puzzles on which it pleases some minds to exercise their ingenuity” (Page, ed. 171–72) – we come up against the fact that Collins's novels, and especially his sensation novels, were sometimes known as “enigma novels” in the Victorian period. We can see too that this was not necessarily intended as a complimentary label. Indeed, though our own contemporary tendency has been to employ this particular moniker in a more neutral, descriptive register – to denote simply some fictions' reliance on mystery – we quickly find that Victorian reviewers were not so dispassionate in their usage. Instead, tracking names like “conundrum novel” or “enigma novel,” and terms like “puzzle,” “enigma,” and even “anagram,” shows that Collins's critics often used such phrases to index some of the same kinds of problems or concerns they more familiarly described with a rhetoric of “sensation.” A short survey suggests that their language of “puzzles” and “enigmas,” like their language of shocks and nerves, expressed disappointment at Collins's tendency to create anticlimaxes (the novel fizzles when the “puzzle” is solved); his emphasis on plot – or “carefully prepared enigma[s]” – over character; and his potential to render readers amoral and passive – patient attendants of solutions (“the key to which is not handed to us”) – rather than creatively engaged thinkers or moral questers. A simple nickname would seem to be a damning label indeed, on fuller survey.
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Koos, Leonard R. "Georges Perec: P or the Puzzle of Fiction." Yale French Studies, no. 75 (1988): 185. http://dx.doi.org/10.2307/2929368.
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Karhulahti, Veli-Matti. "Fiction Puzzle: Storiable Challenge in Pragmatist Videogame Aesthetics." Philosophy & Technology 27, no. 2 (August 30, 2013): 201–20. http://dx.doi.org/10.1007/s13347-013-0117-8.
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Maier, Emar. "Fictional Names in Psychologistic Semantics." Theoretical Linguistics 43, no. 1-2 (January 1, 2017): 1–45. http://dx.doi.org/10.1515/tl-2017-0001.
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AbstractFictional names pose a difficult puzzle for semantics. How can we maintain that Frodo is a hobbit, while admitting that Frodo does not exist? To dissolve this paradox, I propose a way to formalize the interpretation of fiction as ‘prescriptions to imagine’ (
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Cottrell, Jonathan. "A Puzzle about Fictions in the Treatise." Journal of the History of Philosophy 54, no. 1 (2016): 47–73. http://dx.doi.org/10.1353/hph.2016.0023.
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Plain, Gill. "‘Tale Engineering’: Agatha Christie and the Aftermath of the Second World War." Literature & History 29, no. 2 (October 19, 2020): 179–99. http://dx.doi.org/10.1177/0306197320945945.
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The ‘golden age’ of clue-puzzle detective fiction is usually considered to end in 1939 with the outbreak of the Second World War. Yet Agatha Christie, the most high-profile and successful exponent of the form, continued to produce bestselling novels until her death in 1976. This essay examines three novels from the immediate postwar period to consider how she adapted her writing to negotiate a changing world and evolving fashions in genre fiction. Engaging with grief, demobilisation, gender, citizenship and the new fears of the atomic age, Christie proves unexpectedly attentive to the anxieties of a new modernity.
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Flynn, Nicole. "A.S. Byatt and the “perpetual traveller”: a reading practice for new British fiction." Journal of English Studies 16 (December 18, 2018): 91. http://dx.doi.org/10.18172/jes.3450.
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While most readers enjoyed, or at least admired A.S. Byatt’s Booker prize-winning novel “Possession”, many are puzzled by her work before and since. This essay argues that the problem is not the novels themselves, but rather the way that readers approach them. Conventional reading practices for experimental or postmodern fiction do not enable the reader to understand and enjoy her dense, dizzying work. By examining the intertexts in her novella “Morpho Eugenia,” in particular two imaginary texts written by the protagonist William Adamson, this essay demonstrates how the novella generates a different kind of reading practice. Using Byatt’s metaphor, the essay recommends that readers become “perpetual travelers,” a global model of readership that will enable readers to navigate not only Byatt’s oeuvre and the realm of neo-Victorian fiction, but also the field of new British fiction and the crowded media landscape in which it resides.
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Kaliakatsou, Ioanna, and Aggeliki Giannikopoulou. "Η απαιτητική ανάγνωση των εικόνων στα εικονογραφημένα βιβλία του Σαραμάγκου." Preschool and Primary Education 4, no. 1 (May 30, 2016): 68. http://dx.doi.org/10.12681/ppej.228.
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Postmodern picturebooks have gained increasing importance in the field of theory of children’s literature, because they «Provide the most accessible examples of postmodern eclecticism: the breaking of boundaries, the abandonment of linear chronology, the emphasis on the construction of texts, and the intermingling of parodying genres» (Pantaleo and Sipe 2008). Τhese picturebooks invite a more active reader. Mc Callum (1996) notes that metafictive narratives pose «questions about the relationships between the ways we interpret and represent both fiction and reality». Trites ( 1994) also identifies that the changes in picturebooks reflect «the sort of cultural fragmentation that seems to be the hallmark of the postindustrial age» As today's children live in a world characterized by fragmentation, decanonization and interactivity literacy educators focus on the ways in which literacy education will need to change in order to develop student’s «self-knowledge about reading» (Ryan& Anstey, 2003) and enrich reader’s capacity to decode the rapidly change, rich in symbols, visual culture. (Callow, 2008, Goldstone, 2001, Walsh, 2003, Serafini, 2004 O'Neil, 2011 ) Saramago’s picture books are a good example of work that disrupts expectations of the reader through the self-reflexive narrative structure of the visual text. While the verbal text tells rather a simple fairly story, the visual language in pictures evoke multiple levels of meaning, depending on how the reader (children or adult) chooses to interpret it. One common aspect of the illustrations in both books is the self referential qualities of the illustrations that reveal the process of memories restoration and perception. The illustrators of the books employ a range of metafictive devices that self consciously draws attention to the status of the memories as artifacts and systematically poses questions about the way we recall the past. In this paper we examine fifth graders’ responses to several metafictive devices in Saramago’s picturebooks. The books were read and discussed in depth over a two week time period, where the children participated in small groups and whole-class interactive read-aloud sessions. The fifth graders noticed many of the visual elements and took them into account for the (re)construction of the story, such as intertextuality, indeterminacy in illustrative text, disruptions of traditional time and space relationships, pastiche of illustrative styles, illustrative framing devices including a book embedded within another book, description of the creating process. The data concerning children’s reading of both books lead to the conclusion that ten-years-old children paid great attention to the illustration and did not confine their readings only to words. They have incorporated the visual text in the construction of the story, and proved that they can decipher many of the challenging visual puzzles of both books. The study concludes that using visual literacy in the classroom can help children to develop a “critical eye” and to negotiate our visually rich contemporary culture. Key-words: picturebooks, metafiction, childrens’ perception, memories
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Serkowska, Hanna. "D. D. jak dreszcz demencji." Poznańskie Studia Polonistyczne. Seria Literacka, no. 34 (January 11, 2019): 41–62. http://dx.doi.org/10.14746/pspsl.2018.34.2.
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The claim here is that cultural representations of dementia may benefit from the structure of crime fiction which appears therefore to be among the theme most suited genres. We do not know enough about the disease or its etiology (the “culprit” remains unknown), hence the situation of the sufferer befits that of enigma or suspense, fear or confusion, doubt and presumption, standardly deployed by detective stories. Crime fiction narratives underscore that which is at stake in dementia: the riddle of disappearing of the person affected, the puzzle of memory loss, the identity doubt which extends to the relative when he or she is not recognized by the sufferer. By turning to a detective genre, Alzheimer’s novel profits from the genre’s growing popularity, owing to the reading public’s demand for challenges enhancing “mind reading” competences and training predictive abilities. The latter are more in demand as neurocognitive standards of readers grow.
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Martino, Enrico. "Fictional Propositions and the Unprovability of Consistency." Grazer Philosophische Studien 72, no. 1 (January 1, 2006): 201–10. http://dx.doi.org/10.1163/18756735-072001010.
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We introduce an epistemic version of validity and completeness of first order logic, based on the notions of and . We then show how the perspective here considered may help to solve an epistemic puzzle arising from Gödel's second incompleteness theorem.
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Domínguez-Rué, Emma. "In Their Blooming Sixties: Aging as Awakening in Amanda Cross’ The Imperfect Spy and The Puzzled Heart." European Journal of Life Writing 1 (December 5, 2012): 1–21. http://dx.doi.org/10.5463/ejlw.1.23.
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Although the writer and Columbia professor Carolyn Gold Heilbrun (1926-2003) is more widely known for her best-selling mystery novels, published under the pseudonym of Amanda Cross, she also authored remarkable pieces of non-fiction in which she asserted her long-standing commitment to feminism, while she also challenged established notions on women and aging and advocated for a reassessment of those negative views. Taking her essays in feminism and literary criticism as a basis and two of her later novels as substantiation to my argument, this paper will try to illustrate the ways in which the aging female characters in her Kate Fansler series became an instrument to reach a mass audience of readers who might not have read her non-fiction but who were perhaps finding it difficult to reach fulfillment as women under patriarchy, especially upon reaching middle age. My aim is to reveal the ways in which Heilbrun’s seemingly more superficial and much more commercial mystery novels as Amanda Cross were used a catalyst that informed her feminist principles while vindicating the need to rethink about issues concerning the cultural and literary representations of mature women.
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Miquel Baldellou, Marta. "Mary Reilly as Jekyll or Hyde : Neo-Victorian (re)creations of Feminity and Feminism." Journal of English Studies 8 (May 29, 2010): 119. http://dx.doi.org/10.18172/jes.154.
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In his article “What is Neo-Victorian Studies?” (2008), Mark Lewellyn argues that the term neo-Victorian fiction refers to works that are consciously set in the Victorian period, but introduce representations of marginalised voices, new histories of sexuality, post-colonial viewpoints and other generally ‘different’ versions of the Victorian era. Valerie Martin’s gothic-romance Mary Reilly drew on Stevenson’s novella to introduce a woman’s perspective on the puzzle of Jekyll and Hyde. Almost twenty-years after the publication of Martin’s novel, the newly established field of research in Neo-Victorian fiction has questioned the extent to which Neo-Victorian recreations of the Victorian past respond to postmodern contemporary reflections and ideas about the period. This article aims to examine the ways in which this Neo-Victorian gothic text addresses both the issues of Victorian femininity and feminist principles now in the light of later Neo-Victorian precepts, taking into consideration that Martin’s novel introduces a woman’s perspective as a feminist response to Stevenson’s text but also includes many allusions to the cult of domesticity as a legacy of the Victorian gothic romance.
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Kis, Bela, James A. Snipes, and David W. Busija. "Acetaminophen and the Cyclooxygenase-3 Puzzle: Sorting out Facts, Fictions, and Uncertainties." Journal of Pharmacology and Experimental Therapeutics 315, no. 1 (May 6, 2005): 1–7. http://dx.doi.org/10.1124/jpet.105.085431.
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Düringer, Eva-Maria. "Desires and Fiction." Journal of Literary Theory 12, no. 2 (September 3, 2018): 241–59. http://dx.doi.org/10.1515/jlt-2018-0014.
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Abstract It is often claimed that we cannot desire fictional states of affairs when we are aware of the fact that we cannot interact with fictional worlds. But the experiences we have when we read an engaging novel, watch a horror film or listen to a gripping story are certainly very similar to desires: we hope that the lovers get together, we want the criminal to get caught, we long for the hero to make his fortune. My goal in this paper is to outline the reasons why we might find it difficult to call these experiences genuine desires and to argue that they are not good reasons. In the second section I look at three reasons in particular: first, the reason that, if we genuinely desired fictional outcomes, we would act in silly or dangerous ways; second, the reason that, if we genuinely desired fictional outcomes, we would change plot lines if we had the chance, which in fact, however, we would not; and third, the reason that, if we genuinely desired fictional outcomes, we would not think it impossible to interact with fictional worlds, which, however, we do. I will dismiss the first two reasons right away: depending on how we interpret the first reason, either it does not have much weight at all, because we have many desires we never act on, or it rests on a functionalist definition of desires that wrongly takes it to be the functional role of desires to bring about action. I will dismiss the second reason by arguing that, if we desire a particular fictional outcome that we could bring about by changing the plot line, whether or not we would do it turns on our assessment of the cost of interference; and this, in turn, depends on the perceived quality of the literature. There is nothing that speaks against taking both the desire for a particular fictional outcome and the desire for a work of literature to remain what it is as genuine desires. I turn to possible ways of dealing with the third and strongest reason in the third section. The claim that, if I desire that p, I must not think that there is nothing I could possibly do to bring it about that p, is plausible. And of course, I do think that there is nothing I could possibly do to bring about a fictional state of affairs. I will argue that there are three possible ways of dealing with this problem. The first is to point to partners in crime such as the desire that one is reunited with a loved one who has recently passed away. I take these to be genuine and ordinary desires, even though they are accompanied by thoughts, indeed agonising thoughts, that there is nothing we could possibly do to bring about the desired end. Secondly, I will look at Maria Alvarez’s recent account of desires as multi-track dispositions. Alvarez claims that desires are dispositions not only to actions, but also to certain thoughts, feelings, and expressive behaviours and that they need to have had at least one manifestation in order to exist. Modifying this view a little, I argue that desires need to have manifested at least once in action preparations and show how, on this picture, the thought that I can do nothing to bring about the desired end is not in unbearable tension with the existence of the desire. Finally, I will point to the distinction between physical and metaphysical possibility and argue that, even if we accept the claim that a mental attitude cannot be a desire if it is accompanied by the thought that there is nothing one could possibly do to bring about the desired end, then this is only a problem for desires about fictional states of affairs if we think that metaphysical possibility is at play. However, there is no problem for desires about fictional states of affairs if they are accompanied by thoughts about the physical impossibility of bringing them about. I begin the paper by describing in the first section how desires enter into the controversies surrounding the classic Paradox of Fiction, which is the puzzle about whether and how we can have emotions about fictional characters, and by providing some examples designed to feed the intuition that we do, indeed, have genuine desires about fictional states of affairs.
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Sandberg, Eric. "Detective Fiction, Nostalgia and Rian Johnson's Knives Out: Making the Golden Age Great Again." Crime Fiction Studies 1, no. 2 (September 2020): 237–53. http://dx.doi.org/10.3366/cfs.2020.0023.
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The Golden Age is back with a vengeance: reprints, re-boots, and adaptations of interwar detective fiction and its off-shoots have proliferated in the twenty-first century, as have works more loosely, but nonetheless substantially, inspired by the clue-puzzle format developed and perfected by authors like Agatha Christie. This resurgence of the ‘whodunnit’ mystery is something of mystery itself, as the centre of gravity of crime writing has long shifted away from this ostensibly dated and aesthetically limited form. This paper explores this unexpected development, looking in particular at the role of nostalgia in relation to new Golden Age mysteries. While nostalgia is frequently, and quite justly, viewed in negative terms as a personally and politically regressive phenomenon, in some cases, as in Rian Johnson’s murder mystery Knives Out (2019), examined here, it can be used not simply as a dubious marketing or aesthetic strategy, but as part of a broader social critique in which one form of nostalgia is used to critique another.
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Todd, Cain Samuel. "Imaginability, morality, and fictional truth: dissolving the puzzle of ‘imaginative resistance’." Philosophical Studies 143, no. 2 (January 11, 2008): 187–211. http://dx.doi.org/10.1007/s11098-007-9198-5.
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Scott, Rebecca J. "Social Facts, Legal Fictions, and the Attribution of Slave Status: The Puzzle of Prescription." Law and History Review 35, no. 1 (December 12, 2016): 9–30. http://dx.doi.org/10.1017/s0738248016000560.
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This article explores a core question in the law of slavery: how was an individual's status as slave or free socially discerned and formally adjudicated? Under the doctrine of “freedom by prescription,” a person who had in good faith “lived as free” could argue that the absence of exercise of ownership for a specified term of years extinguished a prior owner's title. In the medieval Siete Partidas of Alfonso the Wise, which continued as a legal point of reference in Louisiana well after the end of Spanish rule, both the law of status and the law of property confirmed this path to freedom. From 1808 onward, Louisiana jurists and legislators sought to eliminate the remnants of the doctrine, but it lingered in popular and even judicial consciousness. The 1853 kidnapping of a woman named Eulalie Oliveau, six of her children, and eleven of her grandchildren for sale in the New Orleans slave market brought the question of “freedom by prescription” back into the courts. The awkward resolution of that case, and the uncertain fate of Eulalie Oliveau and her children, foreshadowed Reconstruction-era struggles over the content of legal freedom and the rights that freedom might bring to those who had once been held as property.
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Yocaris, Ilias. "Vers un nouveau langage romanesque." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 43, no. 2 (September 17, 2008): 303–27. http://dx.doi.org/10.1075/rro.43.2.10yoc.
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Claude Simon’s The Battle of Pharsalus (1969) is a verbal patchwork containing heterogeneous narrative fragments and intertextual inserts that are all integrated into a “jigsaw puzzle” structure. The moving complexity of such a fictional device clearly appears when one studies the quotations from In Search of Lost Time used throughout the novel. A detailed stylistic analysis of those quotations (graphic layout, phrasal structure, insertion modes, metatextual marks …) shows that textual collage may be considered as the expression of a specific literary project resting on a reticular conception of writing, a “perspectivist” view of verbal and nonverbal objects, postmodern aesthetic precepts and the use of transsemiotic references to iconic language.
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Higgins, Rosalyn. "Time and the Law: International Perspectives on an Old Problem." International and Comparative Law Quarterly 46, no. 3 (July 1997): 501–20. http://dx.doi.org/10.1017/s0020589300060784.
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I begin by confessing a general fascination with the concept of time. I puzzle endlessly over the relationship between time and matter, and the insistence of scientists that before the Big Bang time did not exist. I grapple with the relationship between time and speed, and the fact that if we could travel at the speed of light time would not move. I seek to grasp Stephen Hawking's recent conversion to the view that, in the physical world, time may yet run in reverse. I am intrigued that our concepts of time came to Australia only with the First Fleet, for aboriginal time was cyclical rather than linear. Events could recur, dead people could live again. I find exhilarating the idea that we see at this moment, through our telescopes, stars that no longer exist. I love the objective reality of the equator and the total artificiality of the meridian, and the intention that this felicitous fiction is the place for us to see in the “real beginning” of the next century.
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Gračanin, Hrvoje. "Constantine VII Porphyrogennetos on Croats in Early Medieval Southern Pannonia (DAI, c. 30, 75–78): A Note on Concept and Method of Byzantine History Writing." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (February 2021): 24–43. http://dx.doi.org/10.15688/jvolsu4.2020.6.2.
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The paper endeavours to discuss anew a scholarly puzzle related to the Croatian early Middle Ages and centred on a few lines from Constantine VII Porphyrogennetos’s De administrando imperio, which in English translation are as follows: And of the Croats who arrived to Dalmatia one part separated and ruled Illyricum and Pannonia. And they also had an independent ruler who was sending envoys, though only to the ruler of Croatia from friendship. Taking a different approach from the complete dismissal of the two sentences as a pure fiction or a mere literary device, the paper instead attempts to trace the concept behind this account as well as its underlying meaning. On the one hand, it seeks to detect the methods or strategies used by the royal compiler in trying to elucidate the past. On the other hand, it aims to provide a thorough historical analysis and offer a possible interpretation in opposition to the view, still largely extant in the Croatian scholarship, that this account is an evidence for an early presence of the group called Croats in southern Pannonia.
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Simmons, Daniel L., N. V. Chandrasekharan, Dai Hu, K. Lamar Roos, and Joshua Tomsik. "Comments on “Acetaminophen and the Cyclooxygenase-3 Puzzle: Sorting out Facts, Fictions, and Uncertainties”: Fig. 1." Journal of Pharmacology and Experimental Therapeutics 315, no. 3 (November 16, 2005): 1412–14. http://dx.doi.org/10.1124/jpet.105.094169.
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Kis, Bela, James A. Snipes, and David W. Busija. "Response to Comments on “Acetaminophen and the Cyclooxygenase-3 Puzzle: Sorting out Facts, Fictions, and Uncertainties”." Journal of Pharmacology and Experimental Therapeutics 315, no. 3 (November 16, 2005): 1415–16. http://dx.doi.org/10.1124/jpet.105.094870.
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Kruks, Sonia. "Ambiguity and Certitude in Simone de Beauvoir's Politics." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 214–20. http://dx.doi.org/10.1632/pmla.2009.124.1.214.
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Simone De Beauvoir's political writings pose a puzzle. Politics is the stuff of much of her fictional and autobiographical, as well as more philosophical and sociotheoretical, work. Across all these genres she repeatedly explored the ethical and epistemological ambiguities that political action presents. That is, she wrote continually about politics. But she also sometimes wrote to intervene in politics, and when she did so, she wrote in a strikingly different manner. The writings she intended as political interventions are stridently opinionated and judgmental; they do not attend to nuances or complexities, and they stand in stark contrast to her embrace of ambiguity elsewhere. Why, I want to ask, this striking difference? And what is its significance?
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Ukpokodu, I. Peter. "Theatre and Political Discord: Theatre Rebels of Zimbabwe and Kenya." Theatre Research International 23, no. 1 (1998): 38–43. http://dx.doi.org/10.1017/s0307883300018198.
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Though the world is aware of the political activities of the Nigerian playwright, Wole Soyinka, it might be difficult to find a better example of the relationship between a nation in a state of socio-political chaos and the arts in an African country than that of Ngugi wa Thiong'o's Kenya as exemplified in Matigari:Matigari, the main character [in Ngugi wa Thiong'o's Matigari], is puzzled by a world where the producer is not the one who has the last word on what he has produced; a world where lies are rewarded and truth punished. He goes round the country asking questions about truth and justice. People who had read [Matigari] started talking about Matigari and the questions he was raising as if Matigari was a real person in life. When Dictator Moi [President of Kenya] heard that there was a Kenyan roaming around the country asking such questions, he issued orders for the man's arrest. But when the police found that he was only a character in fiction, Moi was even more angry and he issued fresh orders for the arrest of the book itself.
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Thomas, Angela. "Children Online: Learning in a Virtual Community of Practice." E-Learning and Digital Media 2, no. 1 (March 2005): 27–38. http://dx.doi.org/10.2304/elea.2005.2.1.27.
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This article argues that children in a particular virtual community are learning through their participation in the discursive and social practices of the community. Using Wenger's model of ‘communities of practice’ the article illuminates examples of children's learning that were a direct result of collaboration towards a common goal. Children regularly puzzled out problems together to find the answers, motivated by the desire to be successful and to gain status in the community. This type of learning is rarely attributed to children, as the field of education often relies upon a Vygotskian theorisation of learning through interaction with expert others. In this study, children often learned without an expert, using strategies such as trial and error, and discussion, and through the construction and transformation of their identities, both in and out of the fictional role-playing context.
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Gelfant, Blanche H. "Spenser's Lexicon." Prospects 24 (October 1999): 1–32. http://dx.doi.org/10.1017/s0361233300000272.
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The Spenser of this essay is not the poet Edmund Spenser who wrote in mellifluous rhyme of chivalry and honor, but the wisecracking, hard-hitting, Boston-based private eye of Robert B. Parker's novels, a highly popular series in which murder produces mysteries, and ordinary words a disturbing, if common, mystification. Among these words — honor, courage, loyalty, friendship, and trust, a lexicon of moral values — one of the most mystified is honor, a cognate in the novels for coerciveness and violence. Though unremarked, this semantic slippage achieves rhetorical power as it persuades readers that virtue and violence are inseparable, and that violence and lawlessness — breaking and entering, burglary, assault, shooting to kill — are legitimate means to a moral end. Mystifications effected by an insinuating rhetoric differ from the bafflements conventional to private-eye fiction, such as the confusions created by characters who plant false clues within plots devised by mystery writers to puzzle and intrigue their readers. Typically, such crime plots end by revealing secrets concealed within a mystery's inherent darkness and within mystery novels as a literary genre. In the Spenser series, however, a melding of violence and honor produces mystifications that the narrator-hero deepens rather than dispels as he imbues familiar words with morally dubious meanings.
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Barzegar, Ebrahim. "Labyrinths and Illusions in David Lynch’s Mulholland Drive and Inland Empire." CINEJ Cinema Journal 5, no. 2 (October 11, 2016): 168–88. http://dx.doi.org/10.5195/cinej.2016.150.
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David Lynch is known for its surrealistic and bizarre spectacles in his films in and out of America which puzzle and disturb the viewers and yet force them to ponder on the underlying mystery and meaning of them. Multilayered and disjointed narratives of his films strike most of the viewers to get lost in his magical world or Lynchland. In order to fully apprehend his convoluted cinematic narrative, this article aims at unfolding the different layers of his postmodern award-winning film, Mulholland Drive (2001) and INLAND EMPIRE (2006). To achieve this goal, Brian McHale’s thoughts and notions associated with postmodern fiction’s characteristic dealing with foregrounding ontological narratives are chosen and used in this research. It is conclude that Mulholland Drive’s and INLAND EMPIRE's embedded narratives function as a reflection of the primary narrative or diegetic leading to the construction of abysmal worlds.
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Po DeLisle, Giulia. "Via Ripetta 155: The last piece of Clara Sereni’s life writing story." Forum Italicum: A Journal of Italian Studies 55, no. 1 (February 4, 2021): 109–25. http://dx.doi.org/10.1177/0014585820986512.
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Clara Sereni’s writing journey began in 1974 with Sigma Epsilon and went on to flourish through the years with the publication of numerous inspiring and thought-provoking literary works. Many of her autobiographical and fictional texts delve into the years between 1968 and 1977, a crucial decade that changed Italy and forever impacted the author’s life and political thinking. In Via Ripetta 155, Sereni found a renewed desire to bear witness to those politically revolutionary times by revisiting the experiences of her private self and her interaction with the public realm. This study engages with the analysis of this last piece of the complex puzzle that encompasses the written story of her life, and argues that the text represents a final self-empowering act in which the apartment of Via Ripetta becomes the stage for a dialectical discourse between personal achievements and socio-political changes, personal conflicts and public turmoil.
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Ivačić, Matija. "Smrt voli poeziju a ne voli starost? O tipologiji junaka u češkom krimiću u razdoblju njegove „renesanse”." Slavica Wratislaviensia 163 (March 17, 2017): 655–63. http://dx.doi.org/10.19195/0137-1150.163.55.
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Death loves poetry but not old age? On hero typology in the Czech crime novel in its “renaissance” periodIn the article the author analyses the typology of the central character in the Czech crime novel in its “renaissance” period 1958–1969, taking into account main tendencies of the production of the said period socialist crime novel and leaning towards the Western tradition of crime fiction, which had great influence on the appearance and character of the leading protagonist. Taking into account those tendencies, the author discusses the frequency of the worldly known “Poirot” type of the “great detective”, a wise and an experienced old man who sees crime as a logical puzzle, and tries to prove how the production of the period was marked by the reduction of the typological image of the main hero.Smrt má ráda poezii a nemá ráda stáří? O typologii hrdinů včeské detektivce vobdobí její obrodyV článku se analyzuje typologie ústředních postav v české detektivce 1958–1969 se zřetelem k dvěma hlavním tendencím v dobové produkci socialistická detektivka a vliv západní tradice. Na základě vybraných děl se autor snaží odpovědět na otázku, do jaké míry se v dobové detektivní próze prosadil tzv. poirotovský typ „velkého detektiva“, moudrého a zkušeného starce, který se zločinem zabývá jako logickou hrou, ale také i proč lze mluvit o určité redukci typologie hlavních postav.
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Gerdes, Anne. "IT-ethical issues in sci-fi film within the timeline of the Ethicomp conference series." Journal of Information, Communication and Ethics in Society 13, no. 3/4 (August 10, 2015): 314–25. http://dx.doi.org/10.1108/jices-10-2014-0048.
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Purpose – This paper aims to explore human technology relations through the lens of sci-fi movies within the life cycle of the ETHICOMP conference series. Here, different perspectives on artificial intelligent agents, primarily in the shape of robots, but also including other kinds of intelligent systems, are explored. Hence, IT-ethical issues related to humans interactions with social robots and artificial intelligent agents are illustrated with reference to: Alex Proyas’ I, Robot; James Cameron’s Terminator; and the Wachowski brothers’ Matrix. All three movies present robots cast in the roles of moral agents capable of doing good or evil. Steven Spielberg’s Artificial Intelligence, A.I. gives rise to a discussion of the robot seen as a moral patient and furthermore reflects on possibilities for care and trust relations between robots and humans. Andrew Stanton’s Wall-E shapes a discussion of robots as altruistic machines in the role as facilitators of a flourishing society. Steven Spielberg’s Minority Report allows for a discussion of knowledge-discovering technology and the possibility for balancing data utility and data privacy. Design/methodology/approach – Observations of themes in sci-fi movies within the life span of the ETHICOMP conference series are discussed with the purpose of illustrating ways in which science fiction reflects (science) faction. In that sense, science fiction does not express our worries for a distant future, but rather casts light over questions, which is of concern in the present time. Findings – Human technology interactions are addressed and it is shown how sci-fi films highlight philosophical questions that puzzle us today, such as which kind of relationships can and ought to be formed with robots, and whether the roles they play as social actors demand that one ought to assign moral standing to them. The paper does not present firm answers but instead pays attention to the selection and framing of questions that deserve attention. Originality/value – To relate sci-fi movies to topics raised during the past 20 years of the ETHICOMP conference series, seemed to be an appropriate way of celebrating the 20-year anniversary of the ETHICOMP conference series.
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Böckenförde, Ernst-Wolfgang. "The Concept of the Political: A Key to Understanding Carl Schmitt's Constitutional Theory." Canadian Journal of Law & Jurisprudence 10, no. 1 (January 1997): 5–19. http://dx.doi.org/10.1017/s0841820900000205.
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The focus of this paper is not on the person, but on the work of Carl Schmitt, in particular the significance of Schmitt's concept of the political for an understanding of his legal and constitutional theory. Let me start with a short personal memory. When I was a third year law student, I read Carl Schmitt's Constitutional Theory. I came across the formulations that the state is the political unity of a people and that the rule of law component in a constitution is an unpolitical component. I was puzzled by these two remarks. I had learned from Georg Jellinek that the state, from a sociological perspective, is a purposeful corporative unit and, from a legal perspective, represents a territorially based corporation. I had also gathered some knowledge about “organic” state theories, especially that of Otto von Gierke who considers the state an organism and a real corporative personality rather than a mere legal fiction. On the basis of these theories, I felt unable to understand Schmitt's point that the state is the political unity of a people, because in those theories the political aspect is largely missing. It was only later that, by reading and studying Carl Schmitt's essay The Concept of the Political, I gradually learned to make sense of the above remarks. Thus I have discovered that that essay, and the understanding of the political elaborated in it, contains the key to understanding Carl Schmitt's constitutional theory in general. I would now like to explain this.
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Keen, Suzanne. "QUAKER DRESS, SEXUALITY, AND THE DOMESTICATION OF REFORM IN THE VICTORIAN NOVEL." Victorian Literature and Culture 30, no. 1 (March 2002): 211–36. http://dx.doi.org/10.1017/s1060150302301104.
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WHY ARE JANE EYRE AND DOROTHEA BROOKE clad by their creators in “Quakerish” garb? The oppositional plainness and simplicity of Quakerish heroines have often been read as signs of classlessness and sexlessness.1 Plain and simple clothing seems, to both Victorian and contemporary eyes, part of the package of reticence, reserve, and repression associated with the evangelical wing of nineteenth-century dissenting sects.2 The typical sociological view of the function of dress within conservative religious groups holds that “strict dress codes are enforced because dress is considered symbolic of religiosity. Hence dress becomes a symbol of social control as it controls the external body” (Arthur 1). The control of female sexuality and the restraint of desire would seem to be the core function of modest clothing. Then the plain dress of some of the liveliest heroines of Victorian fiction presents a puzzle that can be solved only by recuperating the meaning of that clothing for Victorians. As fashion historian Anne Hollander points out, nineteenth-century novels testify to the way that clothes “always correctly express character” (Feeding the Eye 12), but the meaning of particular articles of clothing or styles can slip away. Accurately reading the characters of Charlotte Brontë and George Eliot thus requires careful interpretation of their dress, in this case reversing the conventional reading of their plain, modest, and simple style. This essay argues that Quakerish clothing expresses both a promise of spirited sexuality and an admonition about the class-crossing potential of the respectable female contained within it.
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Ismael, Zaid Ibrahim, and Sabah Atallah Khalifa Ali. "Human Rights at Stake: Shirley Jackson’s Social and Political Protest in “The Lottery”." International Journal of Applied Linguistics and English Literature 7, no. 6 (November 1, 2018): 28. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.6p.28.
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Nowhere is American author Shirley Jackson’s (1916-1965) social and political criticism is so intense than it is in her seminal fictional masterpiece “The Lottery”. Jackson severely denounces injustice through her emphasis on a bizarre social custom in a small American town, in which the winner of the lottery, untraditionally, receives a fatal prize. The readers are left puzzled at the end of the story as Tessie Hutchinson, the unfortunate female winner, is stoned to death by the members of her community, and even by her family. This study aims at investigating the author’s social and political implications that lie behind the story, taking into account the historical era in which the story was published (the aftermath of the bloody World War II) and the fact that the victim is a woman who is silenced and forced to follow the tradition of the lottery. The paper mainly focuses on the writer’s interest in human rights issues, which can be violated even in civilized communities, like the one depicted in the story. The shocking ending, the researchers conclude, is Jackson’s protest against dehumanization and violence.
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Bădulescu, Dana. "Ian McEwan’s Parable of Reading in Black Dogs." Open Cultural Studies 2, no. 1 (December 1, 2018): 581–90. http://dx.doi.org/10.1515/culture-2018-0053.
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Abstract This paper aims to explore Ian McEwan’s vision of Europe in his 1992 novel Black Dogs. Published some three years after the fall of the Berlin Wall, Black Dogs plunges its readers into a fictional experience that enhances their sense of an irrational fear and their apprehensions of evil forces haunting Europe’s past and present and bursting out in the shape of a pair of menacing creatures in London, France, Poland and Germany. Taking the reader back and forth in time and space in a narrative of mobility, McEwan projects a complex vision of Europe, where memory plays tricks and sheds light upon an essential, albeit inscrutable truth at the same time. Feeling that he belongs nowhere, in particular, Jeremy, the narrator-protagonist, probes into the past to find the key to the present, which overarches the future of the continent. In order to do so, his mind sweeps over moments and places, projecting pieces of a jigsaw puzzle which only the reading process can fit together. Looking into McEwan’s memory-oriented narrative strategies, the paper will focus on the emblematic role of the reader in a novel which is a parable of cultural, epistemological and literary reading.