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Journal articles on the topic 'Rome, fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Martynov, D. E. "The Ancient Past and Fiction, or about the Construction of Worlds by Humanities Scholars: A Review of Books." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 163, no. 1 (2021): 190–205. http://dx.doi.org/10.26907/2541-7738.2021.1.190-205.

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This paper reviews three novels by different modern authors, all published in 2020 and applying to the realities of Ancient Rome. Marik Lerner’s science fiction novel “Practical Ufology” fits within the subliterary genre of “accidental travel”, and any background information from the Roman-Byzantine life is not very appropriate in the adventure text. The new novel “The Triumphant” by Olga Eliseeva, a professional historian, can be labeled as a form of the “science novel” genre, because it has numerous references and “anchors” that only an educated person is able to understand. The main canvas

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2

Holderness, Graham. "‘Our Troy, our Rome’." Critical Survey 34, no. 4 (2022): 93–112. http://dx.doi.org/10.3167/cs.2022.340406.

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In Titus Andronicus, the many classical literary sources of the play function as templates for its events, as if the tragedy had already been anachronistically pre-written by poets of the Augustan era. The literature of the past, like history, serves, in Titus’s own words, as ‘a pattern, precedent and lively warrant’ (5.3.57) for present action and behaviour. When literature and drama appear to become the basis and precedent for human experience, then there is a two-way process of consolidation and de-realisation. Dramatic and poetic literature can start to look more like history; but at the s

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3

Budner, Keith. "How Does a Moorish Prince Become a Roman Caesar? Fictions and Forgeries, Emperors and Others from the Spanish "Flores" Romances to the Lead Books of Granada." Medieval Globe 5, no. 2 (2019): 149–70. http://dx.doi.org/10.17302/tmg.5-2.8.

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This article reads the two Spanish versions of the Flores romance as ideologically embedded in the conflict and contact between Christians and Muslims in medieval Iberia, as well as after the "Reconquista" of 1492 and the subsequent renegotiation of Spanish-Morisco relations. It argues that the printed version of the romance, published in 1512 and frequently reprinted, imagines a fictional resolution to the problem of the Moriscos' socio-political status by making its Morisco protagonist an emperor of Rome. It contrasts this successful fiction with a failed contemporary forgery that had a simi

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4

Turner, Andrew. "The Poet and the Praetor: Travel Narratives from Early Second-Century Italy." Antichthon 43 (2009): 109–22. http://dx.doi.org/10.1017/s0066477400001982.

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Travel was an inescapable fact of life for the citizens of early second-century CE Rome. People constantly travelled from Rome to Italy, from Rome to the provinces, and from the provinces to Rome; on business, public or private, as immigrants, or for personal reasons, including health and tourism. News of travel was also ever present. In a rigidly hierarchical society which paid continual homage to the princeps, but which also maintained the fiction that his actions were accountable to the Roman people, his extensive travels throughout Italy and the provinces were constantly documented and ava

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Frame, Alex. "Fictions in the Thought of Sir John Salmond." Victoria University of Wellington Law Review 30, no. 1 (1999): 159. http://dx.doi.org/10.26686/vuwlr.v30i1.6021.

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A Lecture delivered for the Stout Centre's "Eminent Victorians" Centennial Series in the Council Chamber, Hunter Building at Victoria University on 31 March 1999. The author pays tribute to the late Sir John Salmond by discussing the role of "fiction" in law and in the thought of Sir John. The author notes the nature of fiction as a formidable force, as it facilitates provisional escape from the tyranny of apparent fact and forget about the suspensory nature of fiction. There are three types of "fictions" in the legal world: legislative fictions, whereby the world is refashioned in accordance

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6

Sandy, Mark. "The Sense of an Ending: Poetic Spaces and Closure in Keats’s 1819 Odes." Romanticism 28, no. 2 (2022): 188–96. http://dx.doi.org/10.3366/rom.2022.0554.

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Following Frank Kermode’s distinction, in The Sense of an Ending, between the stability of myth and the changeability of fiction, Keats’s ‘Ode on Indolence’ offers an understated self-conscious presentation of myth and fiction in comparison with the Nightingale and Grecian Urn odes. All three of these odes invest in mythologies as much as they remain alert to their own poetic frames and the fictive nature of the fictions behind them. This poetic self-awareness reconnects Keats’s odes with the reality of death behind the mythic figures of nightingale, urn, and indolence. Such subtle, shifting,

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7

Wang, Yi. "Carpe Diem Revisited in Poetry, Fiction and Film." Theory and Practice in Language Studies 10, no. 3 (2020): 294. http://dx.doi.org/10.17507/tpls.1003.04.

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Carpe Diem is considered to be an eternal theme in English literature. Being pervasively spread through all ages, it is indeed of universal significance, reflecting one of the important philosophical issues of human world. Albeit this phrase was first created by Horace in ancient Rome, it has greatly influenced the renaissance poetry and the metaphysical poetry of the 17th century. This paper sets out to analyze different representations of Carpe Diem or its variations in various literary forms, namely, poetry, fiction and even film. After these contemplations it is safe to say that the connot

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8

Billows, Richard. "Legal Fiction and Political Reform at Rome in the Early Second Century B. C." Phoenix 43, no. 2 (1989): 112. http://dx.doi.org/10.2307/1088211.

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9

Pagliuca, N. M., C. Gasparini, and D. Pietrangeli. "A journey towards the earth's core at the geophysical museum of Rocca di Papa (Rome, Italy)." Geological Curator 8, no. 7 (2007): 341–50. http://dx.doi.org/10.55468/gc390.

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This paper introduces the Geophysical Museum of Rocca di Papa (Roma, Italy) where visitors can encounter a fascinating journey towards the Earth's core. The aim of the Museum, which was founded on February 26th 2005, is to make the language of Geophysics friendlier and to show the relationship between science and science fiction. The Geophysical Museum is housed in the historical Geodynamic Observatory, built in 1889 by the famous seismologist Michele Stefano De Rossi. The Museum explains the main topics of Geophysics through the use of posters, movie presentations and interactive experiments

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10

Matravers, Derek. "Non-Fictions and Narrative Truths." Croatian journal of philosophy 22, no. 65 (2022): 145–60. http://dx.doi.org/10.52685/cjp.22.65.1.

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This paper starts from the fact that the study of narrative in contemporary Anglo-American philosophy is almost exclusively the study of fictional narrative. It returns to an earlier debate in which Hayden White argued that “historiography is a form of fiction-making.” Although White’s claims are hyperbolical, the paper argues that he was correct to stress the importance of the claim that fiction and non-fiction use “the same techniques and strategies.” A distinction is drawn between properties of narratives that are simply properties of narratives and properties of narratives that play a role

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11

Goff, Barbara. "Revolution in Antiquity: The Classicizing Fiction of Naomi Mitchison." Clotho 4, no. 2 (2022): 155–79. http://dx.doi.org/10.4312/clotho.4.2.155-179.

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The writer and activist Naomi Mitchison (1897–1999) came from a prominent establishment family but was a member of the Labour Party and the wife of a Labour MP. Her work was explicitly marked by the Russian Revolution, even when she wrote about antiquity. In the 1920s and 1930s, she produced a number of works of historical fiction set in ancient Greece and Rome, which were highly regarded at the time. The works use the canvas of antiquity to experiment with many forms of political and social radicalism, with a challenging focus on female sexuality. The article discusses four specific represent

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Gago Mariño, Manuel, and Jesús García Sánchez. "The Iron Age looks at Rome for the first time in audiovisuals: fiction, cultural imaginary and historical reality in Barbarians and Britannia." Ex Novo: Journal of Archaeology 6 (February 11, 2022): 187–97. http://dx.doi.org/10.32028/vol6isspp187-197.

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Two recent fiction series produced for video-on-demand (VOD) platforms show the conflict between the Roman Empire and indigenous peoples from the perspective of the latter for the first time. Thus, transforming the traditional Roman historical genre into a more diverse and multifocal space. But, in Barbarians and Britannia this new audiovisual optic manages the representation of this historical reality in completely opposite ways.

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13

levi, jane. "Melancholy and Mourning: Black Banquets and Funerary Feasts." Gastronomica 12, no. 4 (2012): 96–103. http://dx.doi.org/10.1525/gfc.2012.12.4.96.

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The article investigates a range of lavishly staged banquets evoking death and funerary rituals in history and fiction, comparing them with actual funerary practices involving food. Examples discussed range from the ancient world (Greece, Rome, Egypt) to Renaissance Italy, early modern Britain, and eighteenth and nineteenth century Britain and France. By exploring the symbols of food and dining as entertainment and ritual, it contrasts the elaborate melancholy of the black banquet with the cathartic effectiveness of the funeral feast, and assesses the heightened impact of the borrowing of fune

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Deslandres, Dominique. "« … alors nos garçons se marieront à vos filles, & nous ne ferons plus qu’un seul peuple1 » : religion, genre et déploiement de la souveraineté française en Amérique aux XVIe-XVIIIe siècles – une problématique2." Revue d’histoire de l’Amérique française 66, no. 1 (2014): 5–35. http://dx.doi.org/10.7202/1021080ar.

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Cet article revisite l’histoire de la fiction du métissage, sous l’éclairage croisé de la religion, du genre et des Imperium Studies. Les premiers résultats de l’analyse montrent qu’entre les années 1500-1680, les Autres pouvaient facilement s’assimiler à la société des Français par les voies privilégiées et éminemment genrées qu’étaient le baptême et le mariage. Or mettre en regard ces voies d’assimilation avec l’échec que fut la chimère (tout aussi genrée) de faire un seul peuple franco-amérindien, permet de faire ressortir des mécanismes mentalitaires qui jouèrent en faveur de la tentation

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ROYNON, TESSA. "A New “Romen” Empire: Toni Morrison's Love and the Classics." Journal of American Studies 41, no. 1 (2007): 31–47. http://dx.doi.org/10.1017/s0021875806002738.

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An important but little-studied feature of Toni Morrison's novels is their ambivalent relationship with classical tradition. Morrison was a classics minor while at Howard University, and her deployment of the cultural practices of ancient Greece and Rome is fundamental to her radical project. Indeed, the works' revisionary classicism extends far beyond the scope of established criticism, which has largely confined itself to the engagement with Greek tragedy in Beloved, with the Demeter/Kore myth in The Bluest Eye and with allusions to Oedipus and Odysseus in Song of Solomon.1 Morrison repeated

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16

Cufurovic, Mirela. "Popular Imagination Versus Historical Reality." Public History Review 25 (December 27, 2018): 1–16. http://dx.doi.org/10.5130/phrj.v25i0.6157.

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Historical films have been subject to controversy and criticism within the discipline of history upon the rise of popular interest in new and innovative forms of historical representation. The five to seven years between the release of Gladiator (2000) and Rome (2005-2007) saw an upsurge of historical films focusing on the ‘epic’: the spectacular, monumental and immersive periods of history that exude a mix of historical reality and speculative fiction. This paper argues that it is not historical accuracy or film as historical evidence that matters, but the historical questions and debates tha

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17

HOBDEN, FIONA. "History Meets Fiction in Doctor Who, ‘The Fires of Pompeii’: A BBC Reception of Ancient Rome on Screen and Online." Greece and Rome 56, no. 2 (2009): 147–63. http://dx.doi.org/10.1017/s0017383509990015.

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‘Ancient Rome!’ The door of the iconic police box squeaks open. The camera pans, following a dark-haired man as he emerges, pushes through a curtained doorway, and, with a glint in his eye, glee in his smile, and a touch of London in his voice, announces their destination to his redhead companion. So begins ‘The Fires of Pompeii’, the second episode in the fourth season of the current BBC (British Broadcasting Corporation) science-fiction drama Doctor Who. And so, no doubt, began the scribbling of pens on notebooks, as classicists who examine popular receptions of ancient Greece and Rome recog

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Hammond, Andrew. "The reluctant Europeans: British novelists and the common market." Literature & History 26, no. 2 (2017): 213–30. http://dx.doi.org/10.1177/0306197317724664.

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Despite Britain’s long-standing reputation as a ‘reluctant European’, little research has been done on the treatment of the European Union in cultural production. This essay analyses responses to integration in British fiction of the second half of the twentieth century. Drawing on cultural materialist theory, the essay finds the same mixture of indifference and hostility that marked public discourse and argues that such responses were moulded by the Euroscepticism current amongst governmental and media elites. As illustrated by the work of Nancy Mitford, John Berger, Elizabeth Wilson, Tim Par

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19

Egerton, Karl. "Player Engagement with Games: Formal Reliefs and Representation Checks." Journal of Aesthetics and Art Criticism 80, no. 1 (2021): 95–104. http://dx.doi.org/10.1093/jaac/kpab058.

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Abstract Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction in games has heretofore been acknowledged but n

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20

Walsh, Richard G. "Passover Plots." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 3, no. 2-3 (2010): 201–22. http://dx.doi.org/10.1558/post.v3i2/3.3.201.

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Various modern fictions, building upon the skeptical premises of biblical scholars, have claimed that the gospels covered up the real story about Jesus. Dan Brown’s The Da Vinci Code is one recent, popular example. While conspiracy theories may seem peculiar to modern media, the gospels have their own versions of hidden secrets. For Mark, e.g., Roman discourse about crucifixion obscures two secret plots in Jesus’ passion, which the gospel reveals: the religious leaders’ conspiracy to dispatch Jesus and the hidden divine program to sacrifice Jesus. Mark unveils these secret plots by minimizing

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Nikolić, Časlav V. "„KAD BIH BIO ISTORIČAR“: VULKANI I ISTORIJA U ROMANU „KOD HIPERBOREJACA“ MILOŠA CRNjANSKOG." Nasledje, Kragujevac XVIII, no. 50 (2021): 371–88. http://dx.doi.org/10.46793/naskg2150.371n.

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When we repeat the question of Wilhelm Dilthey about the possibility of historical cog- nition with Peter Sloterdijk, our interpretation will shed light on the perspective of the heroes in the novel At Hyperboreans by Miloš Crnjanski. This hero thinks of himself as a historian by taking into account what preceded written history. What precedes official history is not only what has not been recorded in human existence, but above all those values that establish our planet. The comprehensive historical opinion about Italy and Rome, as Crnjanski examines in fiction, also implies a geological und

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Alston, Richard. "The fiction of History: recalling the past and imagining the future with Caesar at Troy." Classica - Revista Brasileira de Estudos Clássicos 23, no. 1/2 (2010): 143–60. http://dx.doi.org/10.24277/classica.v23i1/2.164.

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This essay considers the nature of historical discourse through a consideration of the historical narrative of Lucan’s Pharsalia. The focus is on the manner in which Lucan depicts history as capable of being fictionalised, especially through the operation of political power. The discourses of history make a historical account, but those discourses are not, in Lucan's view, true, but are fictionalised. The key study comes from Caesar at Troy, when Lucan explores the idea of a site (and history) which cannot be understood, but which nevertheless can be employed in a representation of the past. y

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Fulkerson, Laurel. "J.-C. Jolivet, Allusion et fiction épistolaire dans les Héroïdes: recherches sur l'intertextualité ovidienne (Collection de l'École Française de Rome 289). Paris/Rome: École Française de Rome, 2001. Pp. 356. ISBN 2-7283-0561-7. €48.00." Journal of Roman Studies 93 (November 2003): 383–84. http://dx.doi.org/10.1017/s0075435800063565.

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Fulkerson, Laurel. "J.-C. Jolivet, Allusion et fiction épistolaire dans les Héroïdes: recherches sur l'intertextualité ovidienne (Collection de l'École Française de Rome 289). Paris/Rome: École Française de Rome, 2001. Pp. 356. ISBN 2-7283-0561-7. €48.00." Journal of Roman Studies 93 (November 2003): 383–84. http://dx.doi.org/10.2307/3184723.

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25

Flower, Harriet I. "Fabulae Praetextae in context: when were plays on contemporary subjects performed in Republican Rome?" Classical Quarterly 45, no. 1 (1995): 170–90. http://dx.doi.org/10.1017/s000983880004177x.

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The fabula praetexta is a category of Roman drama about which we are poorly informed. Ancient testimonia are scanty and widely scattered, while surviving fragments comprise fewer than fifty lines. Only five or six titles are firmly attested. Scholarly debate, however, has been extensive, and has especially focused on reconstructing the plots of the plays.1 The main approach has been to amplify extant fragments by fitting them into a plot taken from treatments of the same episode in later historical sources such as Livy, Dionysius, or Plutarch.2 This method was extended by Mommsen and others in

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Demmerling, Christoph. "Von den Lesewelten zur Lebenswelt. Überlegungen zu der Frage, warum uns fiktionale Literatur berührt." Journal of Literary Theory 12, no. 2 (2018): 260–78. http://dx.doi.org/10.1515/jlt-2018-0015.

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Abstract The following article argues that fictional texts can be distinguished from non-fictional texts in a prototypical way, even if the concept of the fictional cannot be defined in classical terms. In order to be able to characterize fictional texts, semantic, pragmatic, and reader-conditioned factors have to be taken into account. With reference to Frege, Searle, and Gabriel, the article recalls some proposals for how we might define fictional speech. Underscored in particular is the role of reception for the classification of a text as fictional. I make the case, from a philosophical pe

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Аnchishina, E. A. "THE ROLE OF LEGAL FICTIONS IN MODERN LAW ENFORCEMENT PRACTICE." Bulletin of Udmurt University. Series Economics and Law 30, no. 5 (2020): 697–705. http://dx.doi.org/10.35634/2412-9593-2020-30-5-697-705.

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This article is devoted to defining the role of legal fictions in modern law enforcement practice. To do this, the author reveals the content of this category, paying attention to the absence of the need to consider fiction as something false and contrary to objective reality. Further, the author defines the meaning of legal fictions, conducting a detailed analysis of their main functions on the example of the civil legislation of the Russian Federation and the corresponding law enforcement practice. At the same time, its practical aspect is mainly studied. The main attention is paid to the pr

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Barnard, John Levi. "Ancient History, American Time: Chesnutt's Outsider Classicism and the Present Past." PMLA/Publications of the Modern Language Association of America 129, no. 1 (2014): 71–86. http://dx.doi.org/10.1632/pmla.2014.129.1.71.

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This essay advances a theory of black classicism as a mode of resistance to the dominant narrative of American history, according to which the United States was to be a new Rome, rooted in the best traditions of classical antiquity yet destined to surpass its antecedent through the redeeming power of American exceptionalism. In the late nineteenth century this narrative reemerged as a means of getting beyond sectional conflict and refocusing on imperial expansion and economic growth. For Charles Chesnutt, a post-Reconstruction African American writer, the progress of American civilization was

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Novikova, Liudmyla. "Dynamics of changes in the image of Ukraine in the audiovisual art of the XXI century." Materìali do ukraïnsʹkoï etnologìï 21 (24) (November 30, 2022): 112–16. http://dx.doi.org/10.15407/mue2022.21.112.

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The article reviews some of the established stereotypes and new trends in the image of Ukraine and Ukrainians in the world audiovisual art. Traditionally, all nations rely primarily on stereotypes in their attitudes towards others. Most of the time, in the screen arts (especially when it comes to American films, television programmes, etc.), Ukrainians, russians, or Belarusians are portrayed as either «russians» or «Slavs» with a russian-centric identity. Cases of positive cinematic representation of Ukrainians in the twentieth century were an exception, the most notable of which was the film

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Marmo, Costantino. "Fictiones nelle filosofie medievali e filosofie medievali nelle fictions." Mediaevalia Textos e estudos 40 (2023): 11–49. http://dx.doi.org/10.21747/21836884/med40a1.

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This contribution is divided into two independent parts: in the first part, it will deal not so much with examining individual cases of fictio and their role within a certain philosophy or an author, as to see how philosophizing or reasoning through fictiones has been theorized and practiced during the twel-fth and thirteenth centuries; in the second part, it will try, instead, to share what can be found reading medieval setting novels, and in particular medieval crime fiction, namely which image is given of medieval philosophers, philosophies and types of knowledge, and what type of role a wi

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Bawardi, Basiliyus. "First Steps in Writing Arabic Narrative Fiction: The Case of Hadīqat al-Akhbār." Die Welt des Islams 48, no. 2 (2008): 170–95. http://dx.doi.org/10.1163/157006008x335921.

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AbstractThis study tracks the significant literary activity of the Beirut newspaper Hadīqat al-Akhbār (1858-1911) in its first ten years. A textual examination of the newspaper reveals that Khalīl al-Khūrī (1836-1907), a central figure of the nahda and the owner of Hadīqat al-Akhbār, believed that an adoption of a new Western literary genre into the traditional Arabic literary tradition would provide the Arab culture with tools for reviving the Arabic language and create new styles of expression. The textual analysis of numerous narrative fictions that were published in the newspaper demonstra

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Kroon, Frederick, and Paul Oppenheimer. "Why Realisms about Fiction Must (and Can) Accommodate Fictional Properties." Philosophies 8, no. 5 (2023): 82. http://dx.doi.org/10.3390/philosophies8050082.

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The topic of fictional objects is a familiar one, the topic of fictional properties less so. But it deserves its own place in the philosophy of fiction, if only because fictional properties have such a prominent role to play in science fiction and fantasy. What, then, are fictional properties and how does their apparent unreality relate to the unreality of fictional objects? The present paper explores these questions in the light of familiar debates about the nature of fictional objects.

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Stenuit, Bernard. "Horace, son éducation et la politique (jusqu’en 30)." L'antiquité classique 88, no. 1 (2019): 103–20. http://dx.doi.org/10.3406/antiq.2019.3950.

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Horace : poète officiel, chantre de la Paix retrouvée, chargé par Auguste de composer l’hymne de la grande fête nationale de 17 ACN, le Chant séculaire. Quel contraste ce portrait offre-t-il avec l’ensemble des allusions à sa formation et à ses premières expériences, jusqu’en 30, où paraissent absents la vocation d’orateur et le sens politique ! Quel contraste aussi avec les années discrètes qui suivent la déroute de Philippes. À ce moment, républicain vaincu, mais sauf, il se met à écrire, pour un cercle d’amis seulement, loin de toute ambition politique. Telle est la persona qu’il construit,

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Katic, Ana. "The epistemic role of fiction in scientific models." Theoria, Beograd 63, no. 3 (2020): 5–16. http://dx.doi.org/10.2298/theo2003005k.

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Giere?s analysis of the epistemic role of fiction in science and literature is the representative of antifictionists. Our research finds the three inconsistencies in his main paper regarding the comparison of fiction in scientific models and literary works. We analyze his argument and offer our solution to the issue favoring the perspective of fictionalism. Further, we support a typological differentiation of false representation in science into fictional and fictitious. The value of this differentiation we demonstrate by giving the example of digital organisms in system biology. The paper aim

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Zipfel, Frank. "The Pleasures of Imagination. Aspects of Fictionality in the Poetics of the Age of Enlightenment and in Present-Day Theories of Fiction." Journal of Literary Theory 14, no. 2 (2020): 260–86. http://dx.doi.org/10.1515/jlt-2020-2007.

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AbstractInvestigations into the history of the modern practice of fiction encounter a wide range of obstacles. One of the major impediments lies in the fact that former centuries have used different concepts and terms to designate or describe phenomena or ideas that we, during the last 50 years, have been dealing with under the label of fiction/ality. Therefore, it is not easy to establish whether scholars and poets of other centuries actually do talk about what we today call fiction or fictionality and, if they do, what they say about it. Moreover, even when we detect discourses or propositio

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Rabinovich, Irina. "Hawthorne’s Miriam – a female enigma: A seductive femme fatale or a victim of abuse?" Ars Aeterna 13, no. 1 (2021): 16–35. http://dx.doi.org/10.2478/aa-2021-0002.

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Abstract In his last published novel, The Marble Faun (Hawthorne, 1974), in spite of his seeming sympathy for Miriam’s plea for friendship, Hawthorne’s narrator relates to Miriam as a “guilty” and “bloodstained” woman, who similarly to the female Jewish models portrayed in her paintings, carries misery, vice and death into the world. The narrator’s ambiguity vis-àvis Miriam’s moral fibre, on the one hand, and his infatuation with the beautiful and talented female artist, on the other, stands at the heart of the novel. The goal of this paper is mainly addressed at examining Miriam’s position in

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Buonanno, Milly, Franca Faccioli, Paola Panarese, et al. "Gender and media studies in Italy: The GEMMA research programme." Journal of Italian Cinema & Media Studies 8, no. 2 (2020): 269–88. http://dx.doi.org/10.1386/jicms_00021_1.

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Abstract This multi-authored article presents new, investigative strands of the research unit GEMMA (GEnder and Media Matters, established in 2010) at the Department of Communication and Social Research of the Sapienza University of Rome. GEMMA's main objective is to explore the multi-layered relationships between gender and media in the peculiar conditions of the contemporary 'media saturated' environment, employing an approach that maps the media's potential for changing cultural representations of gender. Without renouncing the representational approach, the recent iterations of GEMMA resea

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Bareis, J. Alexander. "The Implied Fictional Narrator." Journal of Literary Theory 14, no. 1 (2020): 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.

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AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular dur

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Summerley, Rory. "Approaches to Game Fiction Derived from Musicals and Pornography." Arts 7, no. 3 (2018): 44. http://dx.doi.org/10.3390/arts7030044.

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This paper discusses the construction of consistent fictions in games using relevant theory drawn from discussions of musicals and pornography in opposition to media that are traditionally associated with fiction and used to discuss games (film, theatre, literature etc.). Game developer John Carmack’s famous quip that stories in games are like stories in pornography—optional—is the impetus for a discussion of the role and function of fiction in games. This paper aims to kick-start an informed approach to constructing and understanding consistent fictions in games. Case studies from games, musi

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Turnbull, Michael T. R. B. "'Celestial Fireworks' – Father Malachy's Miracle (1931)." Journal of Religious History, Literature and Culture 9, no. 1 (2023): 125–55. http://dx.doi.org/10.16922/jrhlc.9.1.5.

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In his satirical novel, 'Father Malachy's Miracle' (1931), Bruce Marshall (24 June 1899–18 June 1987), the Edinburgh-born author of over forty books, presents the reader with an elderly Benedictine monk, Fr Malachy Murdoch, who has been sent from his monastery in the Scottish Highlands to improve the singing and the manners on the altar of St Margaret's Church in Edinburgh – like many of the episodes in the novel, Marshall's characters, thinly-disguised, are based on 'real' people – in spite of the author's protestations to the contrary.<br/> After a chance but testy meeting with a dappe

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Reinsborough, Michael. "Science fiction and science futures: considering the role of fictions in public engagement and science communication work." Journal of Science Communication 16, no. 04 (2017): C07. http://dx.doi.org/10.22323/2.16040307.

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The imagination of possible scientific futures has a colourful history of interaction with scientific research agendas and public expectations. The 2017 annual UK Science in Public conference included a panel discussing this. Emphasizing fiction as a method for engaging with and mapping the influence of possible futures, this panel discussed the role of science fiction historically, the role of science fiction in public attitudes to artificial intelligence, and its potential as a method for engagement between scientific researchers and publics. Science communication for creating mutually respo

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Gittel, Benjamin. "In the Mood for Paradox? Das Verhältnis von Fiktion, Stimmung und Welterschließung aus mentalistischer und phänomenologischer Perspektive." Journal of Literary Theory 12, no. 2 (2018): 300–320. http://dx.doi.org/10.1515/jlt-2018-0017.

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Abstract It is widely acknowledged that responses to fiction can be divided into two categories: emotions or moods. Research on the paradox of fiction, however, solely focused on emotional responses to fiction. This paper analyses the different potentials of the mood concept with regard to the paradox of fiction: its potential to avoid the paradox on the one hand and its potential to rise a new paradox of fiction, a paradox of fiction for moods, on the other. To this end, the paper distinguishes two different meanings of the everyday concept of mood and two different paradigms in the research

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Vouilloux, Bernard. "Les lieux de l’art. Topique, topographie et typologie des ateliers en fiction." Romantisme 202, no. 4 (2023): 13–24. http://dx.doi.org/10.3917/rom.202.0013.

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En régime réaliste, la typologie fictionnelle des ateliers passe par la gestion narrative et symbolique de leurs adresses et s’inscrit dans des savoirs partagés : les liens d’interdépendance entre typologie et topographie engagent donc une topique , les lieux de l’art constituant ainsi des topotopes . Ceux-ci disent quelque chose, d’un état, d’une situation, d’un statut dans la société, à quoi se mêlent également les prédispositions du tempérament et les affects de l’humeur. Tout en témoignant des évolutions que connaissent à la fois l’urbanisme parisien et la « cote » des quartiers, les infor

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Steble, Janez. "The role of science fiction within the fluidity of slipstream literature." Acta Neophilologica 48, no. 1-2 (2015): 67–86. http://dx.doi.org/10.4312/an.48.1-2.67-86.

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The paper explores the complex and contradictory role of science fiction in slipstream, the type of postmodern non-realistic literature situated between the fantastic genres and the mainstream literary fiction. Because of its unstable status of occupying an interstitial position between multiple literary conventions, the article first deals with an expansive terminology affiliated with slipstream and elucidates upon using a unified term for it. Avantpop, transrealism, and interstitial fiction all help us in understanding the vast postmodern horizon of slipstream. Furthermore, the slipstream's

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Jacobs, Arthur M., and Roel M. Willems. "The Fictive Brain: Neurocognitive Correlates of Engagement in Literature." Review of General Psychology 22, no. 2 (2018): 147–60. http://dx.doi.org/10.1037/gpr0000106.

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Fiction is vital to our being. Many people enjoy engaging with fiction every day. Here we focus on literary reading as 1 instance of fiction consumption from a cognitive neuroscience perspective. The brain processes which play a role in the mental construction of fiction worlds and the related engagement with fictional characters, remain largely unknown. The authors discuss the neurocognitive poetics model ( Jacobs, 2015a ) of literary reading specifying the likely neuronal correlates of several key processes in literary reading, namely inference and situation model building, immersion, mental

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Magnusson, Petra. "Den skönlitterära texten." Tidskrift för litteraturvetenskap 45, no. 2-3 (2015): 67–78. http://dx.doi.org/10.54797/tfl.v45i2-3.9004.

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Fiction: One Method of Meaning-Making Due to developments in media technology, the textworlds of today are undergoing a series of rapid changes. The aim of this article is to suggest multimodal theory formation as a theory of meaning-making in schools, and to discuss the consequences regarding the way in which fiction is viewed in education. Meaning-making is considered a process wherein one acquires, but also changes and develops, experiences. In other words, meaning-making is regarded as a form of design. When meaning-making is considered as multimodal, nonhierarchical and ecological,

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Takla, Nefertiti. "Women and Crime: Exploring the Role of Gender, Sexuality, and Race in Constructions of Female Criminality." International Journal of Middle East Studies 54, no. 1 (2022): 124–27. http://dx.doi.org/10.1017/s0020743822000022.

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This roundtable on women and crime was inspired by a discussion at a CUNY Dissections Seminar in April 2021, where Gülhan Balsoy presented her work in progress on Ottoman crime fiction in the early 20th century. The focus of her paper was a popular murder mystery series called The National Collection of Murders, which had been published in Istanbul in 1914. The protagonists of this fictional crime series were a mother and daughter known as the Dark Witch and the Bloody Fairy, who led an underground criminal gang living in a secret subterranean world beneath the city of Istanbul. While reading

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Leś, Mariusz M. "„Skrajny kwadrant gwiazdozbioru” – astronomia w fantastyce naukowej." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, no. 3 (2021): 45–76. http://dx.doi.org/10.36770/bp.622.

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As the author of the article claims, there exist close and lasting links between astronomy and science fiction genre. First and foremost, both of these phenomena developed in parallel since antiquity, and both have fiction at their centre as a socially established type of imagination. Scientific hypotheses use justified fabrication, and science fiction offers images of fictional cosmologies. Many writers of proto-science fiction brought astronomical concepts into social play. Among them were astronomers and philosophers who extensively used plot devices based on mythology or allegorical transf

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Newbery-Jones, Craig. "‘The Changes that Face Us’: Science Fiction as (Public) Legal Education." Law, Technology and Humans 4, no. 2 (2022): 137–51. http://dx.doi.org/10.5204/lthj.2488.

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Much has been written on how science fiction allows us to interrogate imagined societal changes and potential yet-to-be realised futures. It also allows those who consume such texts to reflect upon their contemporaneous societies This paper refocuses this understanding of science fiction from an original and novel perspective, arguing that science fiction texts perform an educative function and can be considered a form of public legal education. To this end, this paper argues that science fiction performs a jurisprudential function in its treatment and popular presentation of legal issues and

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Zatsepina, O. E. "LEGAL SYMBOL AND LEGAL FICTION: PROBLEMS OF DEMARCATION." Russian-Asian Legal Journal, no. 4 (January 31, 2020): 14–18. http://dx.doi.org/10.14258/ralj(2019)4.3.

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The article considers the legal symbol and legal fiction as special legal categories. The correctness of anarrow approach to their essence was established according to which the notion of «legal fiction» does notinclude fictitious phenomena, and the notion of «legal symbol» does not cover symbols prohibited by law,and symbols which represent certain values. It was revealed that both considered categories have a certaindegree of conventionality, in a specific way according to the scheme established by the legislator, thereforethey are sometimes mixed in the literature. Legal symbols, unlike leg

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