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Journal articles on the topic 'Science fiction adventures'
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1
Lyzlov, Maxim. "Conversations about Science Fiction: The Category of “Fantastic” in The Bibliographic Discourse of the 1960s and 1970s." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 360–72. http://dx.doi.org/10.31860/2304-5817-2021-1-19-360-372.
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In the 1950s and 1970s, bibliographers made attempts to define the genre of fiction and offer a systematization of the available fiction literature. The purpose of the article is to trace the development of the category of “fantastic” in the recommendation indexes of Z. P. Shalashova “Adventures. Journeys. Science Fiction”, “Artificial Earth satellites. Interplanetary flights”, “Adventures and travel”. The problems faced by bibliographers were related both to the sharp increase in publications of fantastic literature, and to the weak development of the theoretical apparatus in literary studies and bibliography. The concept of “fantastic” has evolved from an adventure-related type of scientific and educational literature to a metaphorical “dream world” devoid of terminological clarity. The material of bibliographic indexes, de- spite its limited functionality, nevertheless demonstrates that the processes that took place in the field of recommendation bibliography of children’s books reflect the significant difficulties that bibliographers experienced in finding a language for describing fiction.
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Bruce, Scott G. "Sunt altera nobis sidera, sunt orbes alii: Imagining Subterranean Peoples and Places in Medieval Latin Literature." Mediaevistik 32, no. 1 (January 1, 2020): 105–18. http://dx.doi.org/10.3726/med.2019.01.04.
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Owing to the enduring popularity of Jules Verne’s science fiction story Journey to the Center of the Earth (1864), modern readers have taken for granted a hollow, habitable core beneath the earth’s crust as a time-honored, though scientifically implausible, setting for speculative fiction.1 Verne’s fantastic tale of Professor Otto Lidenbrock’s descent into the Icelandic volcano Snæfellsjökull and his perilous adventures underground featuring forests of giant mushrooms and prehistoric monsters remains the most widely read work of nineteenth-century “subterranean fiction.” In 1926, the story was reprinted in a three-part serial in the widely-read American science fiction magazine Amazing Stories (Fig. 1). Throughout the twentieth century, it spawned a host of imitators, from Edgar Rice Burrough’s Pellucidar series (1914‐1963) to C. S. Lewis’ Narnian chronicle The Silver Chair (1953), as well as a successful 1959 film adaptation starring James Mason and Pat Boone.
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Sengupta, Sohini. "Empowering Girlhood Journeys: Feminist Mythic Revision in Contemporary Indian Diaspora Children’s Fiction." International Journal of English Literature and Social Sciences 7, no. 3 (2022): 248–52. http://dx.doi.org/10.22161/ijels.73.37.
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There had been relatively little interest in a narrative of female individuation within mythology. Revisionist myths and legends in contemporary literaturehave thus addressed issues of women’s identity and autonomy while redesigningthe gendered spaces in these cultural narratives. The need for alternative mobility arcs within the cultural imaginary was also recognized for adolescent girls in their quest for subjectivity.This paper thus explores two works of children’s fiction, viz. Sayantani Dasgupta’s Game of Stars(2019) from the Kiranmala and the Kingdom Beyond series and Roshani Chokshi’s Aru Shah and the End of Time (2018) as coming-of-age immigrant narratives where young girls undergo heroic adventures restructuringIndian mythology and Bengali folktales. Dasgupta’s Kiranmala and the Kingdom Beyond series intertwines intergalactic science and Bengali folktales, mostly from the Thakumar Jhuli (1907), meshing different fairy tale characters aidingthe adolescent female protagonist Kiranmala, who isa neotericgutsy counterpart of the warrior princess in Dakshinaranjan Mitra Majumder's fairy tale collection.At the same time, Roshani Chokshi’s Aru Shah fantasy adventure series celebrates the Indian heritage of Hindu mythology (particularly the Mahabharata) in the diaspora, while empowering young immigrant girls to imagine and undertake non-normative feminist voyages.
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Mussies, Martine. "“Dashing and daring, courageous and caring”: Neomedievalism as a Marker of Anthropomorphism in the Parent Fan Fiction Inspired by Disney’s Adventures of the Gummi Bears." Dzieciństwo. Literatura i Kultura 3, no. 2 (December 31, 2021): 60–83. http://dx.doi.org/10.32798/dlk.625.
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As is already visible in its opening credits, the television series Disney’s Adventures of the Gummi Bears (1985–1991) uses neomedievalism to confirm the anthropomorphism of the titular characters. More than 35 years after this series’ first episode aired, this phenomenon is still easily traceable in the parent fan fiction, online stories about the Gummi Bears, written for children by adults. This paper addresses two seemingly overlooked fields: The Gummi Bears series and the fan fiction it inspired. It shows that this anthropomorphic perception adds new perspectives on human relations with the natural environment and on the treatment of animals, and thus contributes to building the awareness of ecological and animal rights in societies, especially when it comes to future generations.
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Maciejewska, Anna. "O elementach fantastyki w literaturze XVI i XVII wieku. Wizje niezwykłych krain, państw i miast." Literatura i Kultura Popularna 27 (December 29, 2021): 125–38. http://dx.doi.org/10.19195/0867-7441.27.10.
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The purpose of the article is to present elements of fantasy in selected works of old literature. It focuses above all on presenting the amazing places shown in literary works created in the 16th and 17th centuries. The author also shows similarities between fantasy, fairy tale, and utopia. Science fiction was created on the basis of utopia or anti-utopia, which lost their cognitive functions and began to discuss the characters’ adventures in such a way as to primarily provide entertainment to readers. In addition, the author points out that in the Renaissance era, Western European literary works containing elements of fantasy were primarily utopian or fairy-tale in nature. Their main role, however, was not to fulfill the entertainment function. It was only in the 19th century that leisure literature was discovered, when the ability to read and access to the text spread.
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Moran, Christopher. "Ian Fleming and the Public Profile of the CIA." Journal of Cold War Studies 15, no. 1 (January 2013): 119–46. http://dx.doi.org/10.1162/jcws_a_00310.
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This article represents the first major analysis of the appearance of the U.S. Central Intelligence Agency (CIA) in the James Bond novels of British spy fiction writer Ian Fleming. The article shows that Fleming was remarkably influential during the early Cold War in establishing the public profile of the CIA. The novels, which include manifold references to the agency and its staff, were published at a time when the CIA kept out of the public limelight and when other cultural forms, including Hollywood, refrained from making too much fanfare about intelligence matters. Drawing on recently declassified material, including the papers of fabled CIA Director Allen Dulles, the article demonstrates that the agency took a keen interest in Bond, even drawing inspiration from his adventures and the novels' depictions of technology.
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Tattersdill, Will. "Periodicity, Time Travel, and the Emergence of Science Fiction: H. G. Wells's Temporal Adventures in the Pages of the New Review." Victorian Periodicals Review 46, no. 4 (2013): 526–38. http://dx.doi.org/10.1353/vpr.2013.0048.
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Smith, Michael G. "Cosmic Plots in Early Soviet Culture: Flights of Fancy to the Moon and Mars." Canadian–American Slavic Studies 47, no. 2 (2013): 170–99. http://dx.doi.org/10.1163/22102396-04702003.
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This article explores two classics of Soviet science fiction – Konstantin Tsiolkovskii’s Beyond the Earth (1918) and Aleksei Tolstoi’s Aelita (1923) – in their related historical contexts. Both had their origins in the popular nineteenth-century “cosmic romance,” owing to their staple characters, settings, and plots. These were extraordinary adventures into the heavens, modern signposts of how the fantastic was becoming real. Yet both novels also became leading texts in the genre of Stalinist Socialist Realism, stories that made “fairy tales come true.” Tsiolkovskii and Tolstoi both appealed to the Bolshevik Revolution as a radical break in time here on earth, much as they predicted that the rocket would become a radical new means to reach beyond into outer space. They centered their stories on real science and technology, articles of comprehension and anticipation. They created characters that revealed the utopian potential of human beings to create new regimes of equality and freedom. Part inheritance from abroad, part innovation at home, the cosmic romance in their hands became a successful medium to situate and justify the Soviet experience.
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Porat, Michal. "Telling It Like It is—And Like It is Not: Fiction in the Service of Science in Jay Hosler’s The Sandwalk Adventures." Children's Literature in Education 46, no. 1 (June 22, 2014): 1–21. http://dx.doi.org/10.1007/s10583-014-9225-z.
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Obidič, Andrejka. "Margaret Atwood’s Postcolonial and Postmodern Feminist Novels with Psychological and Mythic Influences: The Archetypal Analysis of the Novel Surfacing." Acta Neophilologica 50, no. 1-2 (November 13, 2017): 5–24. http://dx.doi.org/10.4312/an.50.1-2.5-24.
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The paper analyzes Margaret Atwood’s postcolonial and postmodern feminist novels from the psychological perspective of Carl Gustav Jung’s theory of archetypes and from the perspective of Robert Graves’s mythological figures of the triple goddess presented in his work The White Goddess: A Historical Grammar of Poetic Myth (1997). In this regard, the paper focuses on the mythic and psychological roles embodied and played by Atwood’s victimized female protagonists who actively seek their identity and professional self-realization on their path towards personal evolution in the North American patriarchal society of the twentieth century. Thus, they are no longer passive as female characters of the nineteenth-century colonial novels which are centered on the male hero and his colonial adventures. In her postcolonial and postmodern feminist novels, Atwood further introduces elements of folk tales, fairy tales, legends, myths and revives different literary genres, such as a detective story, a crime and historical novel, a gothic romance, a comedy, science fiction, etc. Moreover, she often abuses the conventions of the existing genre and mixes several genres in the same narrative. For instance, her narrative The Penelopiad (2005) is a genre-hybrid novella in which she parodies the Grecian myth of the adventurer Odysseus and his faithful wife Penelope by subverting Homer’s serious epic poem into a witty satire. In addition, the last part of the paper analyzes the author’s cult novel Surfacing (1972 (1984)) according to Joseph Campbell’s and Northrop Frye’s archetypal/myth criticism and it demonstrates that Atwood revises the biblical myth of the hero’s quest and the idealized world of medieval grail romances from the ironic prospective of the twentieth century, as it is typical of postmodernism.
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Francis, Matthew. "Towards Goosepunk: A Contemporary Poetic Treatment of Francis Godwin's 'The Man in the Moone'." Interfaces: A Journal of Medieval European Literatures, no. 8 (December 31, 2021): 98–112. http://dx.doi.org/10.54103/interfaces-08-06.
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This article proposes a retro-futurist mode of science fiction based on seventeenth-century technology and culture. After a brief account of retro-futurist subgenres, named for the technology they are based on with the suffix -punk, I introduce my own poetic reworking of Francis Godwin's 1638 novel The Man in the Moone, one of a group of texts inspired by early modern New Astronomy. The novel's hero flies to the moon in a craft of his own invention drawn by a flock of migrating birds (swans in the original). Godwin's narrative is enjoyable for modern readers for its combination of vivid imagination, accurate speculation and, with hindsight, intriguing counter-factuality. My treatment aims to emphasise these aspects, eliminating other parts of the text such as the picaresque adventures that open the novel. Treated in this way, the story offers similar pleasures to more established modes such as steampunk. Godwin and his contemporaries were heavily dependent on animals for their power: to reflect this, the article proposes the term 'goosepunk' for its early modern retro-futurist subgenre.
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Bould, Mark. "Book Review: Adapting Science Fiction to Television: Small Screen, Expanded Universe, Gene Roddenberry’s Star Trek: The Original Cast Adventures, Science Wars Through the Stargate: Explorations of Science and Society in Stargate SG–1." Critical Studies in Television: The International Journal of Television Studies 12, no. 3 (September 2017): 315–19. http://dx.doi.org/10.1177/1749602017716539e.
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Barth, Josie Torres. "Sitting Closer to the Screen: Early Televisual Address, the Unsettling of the Domestic Sphere, and Close Reading Historical TV." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (December 1, 2019): 31–61. http://dx.doi.org/10.1215/02705346-7772375.
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This article makes a case for formal analysis of historical TV through close readings that demonstrate the ways in which postwar television unsettled the domestic sphere. While scholars of historical television have dismissed formal criticism for its ignorance of contexts of production and reception, I argue that the content and form of TV in its developmental years directly contextualize industry and society. In its first decades of mass use, television refigured spatial relationships by creating an uncanny liminality between the public sphere of commerce and entertainment and the private sphere of the home. These newly blurred boundaries had profound implications for postwar conceptions of gender, home, and family. Through both form and content, programs as wide-ranging as the science-fiction anthology The Twilight Zone (CBS, 1959–64) and domestic sitcoms The George Burns and Gracie Allen Show (CBS, 1950–58) and The Adventures of Ozzie and Harriet (ABC, 1952–66) developed modes of address to articulate and work through their viewers’ anxieties. In order to probe the wide-reaching implications of the new medium’s intimate address, I argue that scholars of historical television must be as attentive to program content, textuality, and form as they are to technological and industrial developments.
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Turner, Stephen. "Particles of Light." Film and Philosophy 26 (2022): 103–22. http://dx.doi.org/10.5840/filmphil2021113014.
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This article addresses recent science fiction films about the colonization of outer worlds, or space-steading, in the context of the longer colonial history of the frontier. Paying particular attention to Interstellar (Christopher Nolan, 2014), Serenity (Joss Whedon, 2005) and The Wild Blue Yonder (Werner Herzog, 2005), I argue that colonizing outer space is not only a race to the new frontier, but that this takes place because technologies that picture space have quickened the pulse. Through its imagining of the end of times as a reiteration of colonizing adventure, and the emptying of people from their place, the technology of film has itself produced the accident (Virilio, 2007) of an uninhabited earth. As suggested by the cinematically derived kinesis of wormholes, space wrinkles, and warp speeds, what might be left as a form of life is none other than film itself. The hyper-kinesis of film spectacle takes on a non-human life of its own, which, in science fiction film, constitutes a form of self-alienation, removing viewers from the places they actually inhabit and displacing the histories they unfold. In this way, I address what is truly cinematic about the film frontier traversed by the new space of uber-masculine adventurer-settlers.
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Üstün Kaya, Senem, and Ümmühan Bilgin Topçu. "The Abstraction of Reality in Cengiz Da?ci’s Benim Gibi Biri (Someone Like Me)." International Journal of Language and Literary Studies 4, no. 1 (March 27, 2022): 208–24. http://dx.doi.org/10.36892/ijlls.v4i1.822.
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Cengiz Da?c? has been circling around certain facts since his first novels in the 50's and in his many historically unique novels, he attempted to embrace his readers with human adventures, social and individual fractures based on the alienation and isolation of minorities from their own lands and perceivable periods in the shed of clashes and wars. This study aimed at interpreting the aspects of his style in his Benim Gibi Biri (Someone like Me) and presenting the differentiation of the work from its predecessors. The main purpose was to detect the concentration in the narration of Da?c?. The novel underscores the deviations in narration, cohesion and context in general when the character, Joseph becomes the voice of the conscience of the protagonist-narrator. Throughout spatial narration, we observed the traces of Cengiz Da?c? in a silhouette revealing his own personality and experience in actual life. The author’s psychology, outbursts, rebels, traumas and feelings are reflected through the main character, Joseph Tucknell. The deviations in narration highlights the scenes that create pathos for the readers when language becomes poetic. This study involves three main parts. In the first part, the novel Benim Gibi Biri (Someone like Me) by Cengiz Da?c? is analyzed in terms of characterization, themes and setting. Secondly, the focus was on the narrative techniques and cohesion within the context of the text. Finally, it was concluded that Cengiz Da?c? applied essential techniques to abstract his ideas from his fiction in this notable novel, distinguished from his previous works. Therefore, his works still mark the literary canon in terms of unique style and themes.
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Gee, Henry. "The Methuselah Gene: A Science Fiction Adventure Thriller." Nature Medicine 6, no. 8 (August 2000): 857–58. http://dx.doi.org/10.1038/78607z.
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Komissarov, Vladimir. "Журналы фантастики и приключений «Уральский следопыт» и «Искатель» как источники по истории советской интеллигенции." INTELLIGENTSIA AND THE WORLD, no. 3 (October 1, 2020): 34–48. http://dx.doi.org/10.46725/iw.2020.3.3.
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The article examines the source value of the Soviet popular magazines “Ural Pathfinder” and “Seeker”. First of all, the author considers the social and moral-political conditions in which these magazines were created. It is emphasized that both publications appeared at about the same time, at the turn of the 1950s and 1960s, at the beginning of the so-called “Golden age” of Soviet science fiction, when a galaxy of young and active science fiction writers entered the arena of literary life. The appearance of magazines was a response to the request of Soviet readers, first of all, the intelligentsia, who needed new publications of science fiction and adventure themes. The content of these publications was also analyzed. There were differences between the magazines. The “Ural Pathfinder” was not only a literary and artistic publication, but also a popular scientific, historical, geographical, and local history publication. “Seeker” was a literary supplement to “Around the world”. Also, over time, by the 1980s, magazines acquired different ideological colors in the eyes of the Soviet intelligentsia, which, however, did not affect their popularity. At the end, the research results are summarized. In relation to the history of the intelligentsia, the source potential of magazines is limited by a number of factors. Among them, censorship restrictions and ideological divisions among the Soviet intelligentsia occupy an important place. However, the analyzed publications can serve as sources on the following aspects: the history of the Soviet press, primarily popular publications; the development of regional journalism; coverage of local history and environmental issues, issues of youth education (based on the materials of the “Ural Pathfinder”); the composition of the authors of fantasy and adventure works, their plot component.
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Yeates, Robert. "Serial fiction podcasting and participatory culture: Fan influence and representation in The Adventure Zone." European Journal of Cultural Studies 23, no. 2 (August 29, 2018): 223–43. http://dx.doi.org/10.1177/1367549418786420.
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New media affords significant opportunities for audience feedback and participation, with the power to influence the creation and development of contemporary works of fiction, particularly when these appear in serialized instalments. With access to creators permitted via social media, and with online platforms facilitating the creation and distribution of audience paratexts, fans increasingly have the power to shape the fictional worlds and diversity of the characters found within the series they enjoy. A noteworthy and understudied example is fiction podcasting, an emerging form that draws on conventions of established media such as radio and television. Despite the recent surge in the popularity of podcasts, little scholarly attention has been given to the format, except to discuss it as either a continuation of radio programming or part of a transmedia landscape for texts which are centred in media such as television and film. This article argues that fiction podcasting offers unique affordances for creating serial works of fiction, taking The Adventure Zone as a case study which demonstrates the power of successful participatory culture. The podcast has grown from modest beginnings to acquire a considerable and passionate fan network, has diversified into other media forms, and, though available for free, is financially supporting its creators and raising substantial amounts of money for charities. Crucial in its success is the creators’ cultivation of an inclusive environment for fans, and a constant attempt to feature characters representative of a diversity of gender and sexual identities, particularly those typically excluded from other science fiction worlds. This article argues that The Adventure Zone and the format of fiction podcasting demonstrate a shift in contemporary culture, away from established mass media programming and towards a participatory, transmedia, fan-focused form of storytelling which utilizes the unique advantages of new media technologies in its creation, development, and distribution.
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Simsone, Bārbala. "Science Fiction In Latvian Literature." Interlitteraria 22, no. 2 (January 16, 2018): 397. http://dx.doi.org/10.12697/il.2017.22.2.16.
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The present paper is devoted to the overview of the beginnings and development of the genre of science fiction in Latvian literature. Similarly to other popular fiction genres, science fiction in Latvian literature has not been very popular due to social and historical reasons; however, during the course of the 20th century several authors have at least partially approached the genre and created either fully fledged science fiction works or literary works with science fiction elements in them. The paper looks at the first attempts to create science fiction-related works during the beginning of the 20th century; it then provides an insight into three epochs when the genre received comparatively wider attention: 1) the 1930s produced mainly adventure novels with elements of science fiction mirroring the correspondent world tendencies of that time period; 2) the period between the 1960s and 80s saw authors who had the courage to leave the strict platform of Soviet Social Realism, experimenting with a variety of science fiction elements in the postmodern literary context which allowed for a wide metaphoric interpretation. This epoch also saw the emergence of a specific phenomenon – humorous / satiric science fiction which the authors employed in order to offer social criticism of the Soviet lifestyle; 3) the beginning of the 21st century saw the emergence of several science fiction works by a new generation of writers: these works presently comprise the majority of newly published science fiction. The paper outlines the main tendencies of the newest Latvian science fiction such as authors experimenting with a variety of themes, the preference for dystopian future scenarios and humour. The paper offers brief conclusions as to the possible future of Latvian science fiction in context of the current developments in the genre.
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Urusova, N. A. "Interdiscursivity of Biofictional Narration: the Image of Petersburg in M. Bradbury’s “To the Hermitage”." Discourse 7, no. 4 (September 28, 2021): 119–30. http://dx.doi.org/10.32603/2412-8562-2021-7-4-119-130.
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Introduction. The present paper deals with the interdiscursivity in postmodern literary biographic narration (biofiction) in which interdiscursivity is viewed as the author’s strategy of text formation. The relevance of the study is conditioned by the interest of modern linguistics in interaction of different discourse types in literary texts. It is also relevant to study different techniques that the English author uses to represent an external linguocultural context, namely, to create the image of a Russian city in the English-language narration. The novelty of the research is implied by the choice of material under examination, as the constitutive elements of biofictional narration have not been fully defined yet.Methodology and sources. The study is drawn on M. Bradbury’s English-language postmodern biofictional novel To the Hermitage. This biofiction depicts D. Diderot’s trip to St. Petersburg, where he was invited by Catherine the Great. It also recounts the adventures of a modern expedition, which came to the same destination to study the French philosopher’s heritage. The research of discourse interaction is based on a methodology, developed by V. Chernyavskaya. It combines traditional methods of stylistic analysis with discourse analysis.Results and discussion. While analysing the literary space of the biofiction, the following “central” discourses have been identified: Russian-culture-oriented discourse of English as well as historical, political, and autobiographical discourses. The narration is also rich in traits of “periphery” discourses, to name just a few: economical, literary, colloquial French, etc. M. Bradbury uses the strategy of simulated interdiscursivity to make a persuasive impact on a reader’s mind, at the same time involving the reader in fact-fiction semantic game.Conclusion. The analysis highlighted here proved the fact that interdiscursivity is one of the dominant mechanisms an author uses to construct biofictional narration. This strategy reflects some key features of postmodern texts, such as blending of literary genres, a playful montage of different discourse types and ironic mode of narration.
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Yun, Claudia Sangmi. "Canadian Science Fiction for Children and Young Adults: Focusing on Novels from the 1980s." Korean Society for Teaching English Literature 26, no. 3 (December 31, 2022): 135–51. http://dx.doi.org/10.19068/jtel.2022.26.3.05.
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The present study overviews Canadian science fiction for children and young adults in its early history. Canada’s multiculturalism is a great resource for diversity on their literary works, but at the same time, it often turns into concerns on their national identity. Canadian novels portray this unique trait in their stories with three major features. By contrasting the technology-dominated society with the nature-friendly one, they ultimately aim for an idyllic society. Also, the works express distrust of technology and progress with concerns about negative effects on the global environment. Finally, they lie on the blurred border between fantasy adventure and science fiction. Unlike mainstream science fiction novels, Canadian children’s SF writers take the subjects of science, nature, and humans more seriously. Depicting a variety of possible future societies, they continue to emphasize both the harmony of technology and the nature and the exploration of human identity. This originality distinguishes them from other countries’ works and are sufficiently attractive to many young readers.
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Wilson, Virginia. "Boys are Reading, but their Choices are not Valued by Teachers and Librarians." Evidence Based Library and Information Practice 4, no. 3 (September 21, 2009): 46. http://dx.doi.org/10.18438/b8h91w.
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A Review of:
McKechnie, Lynne (E.F.). “ ‘Spiderman is not for Babies’ (Peter, 4 Years): The ‘Boys and Reading Problem’ from the Perspective of the Boys Themselves.” The Canadian Journal of Information and Library Science 30.1/2 (2006): 57-67.
Objective – This study looks at what constitutes legitimate reading material for boys and how this material is defined in light of assessed gender differences in reading, and is part of a larger, ongoing research project on the role of public libraries in the development of youth as readers.
Design – Semi-structured, qualitative interviews and book inventories.
Setting – The research originated from the MLIS 566 (Literature for Children and Young Adults) class at the Faculty of Information and Media Studies, University of Western Ontario, London, Ontario, Canada.
Subjects – Forty-three boys, ages four through twelve, were interviewed. Most of the boys lived in Ontario, although a few came from other Canadian provinces.
Methods – Library school students who were registered in a Literature for Children and Young Adults class interviewed children and young adults about their reading and information practice as part of a “Book Ownership Case Study” assignment. The researcher also interviewed children and young adults, for a total of 137 case studies. For the purpose of this article, a data subset for the 43 boys included in the larger project was analyzed. The boys ranged in age from four to twelve years. The mean age was eight and the median age was nine. The theoretical perspective of reader response theory was used to situate the study. This theory has the relationship between the text and the reader as its focus, and it suggests that to understand the reading habits of boys, there needs to be recognition that the experts about their reading are the boys themselves. The interviews, which explored reading preferences and practices, were qualitative, semi-structured, and took thirty minutes to complete. In addition to the interview, each boy’s personal book and information material collection was inventoried. The researcher used a grounded theory approach to analyze the inventory and interview data to pull out themes related to the research questions. Grounded theory “uses a prescribed set of procedures for analyzing data and constructing a theoretical model” from the data (Leedy and Ormrod 154).
Main Results – The collection inventories revealed that all 43 study participants had personal collections of reading materials. The collections ranged from eight volumes to 398 volumes. There was a mean volume total of 108 and a median of 98 books per boy. In addition to books, other materials were in the collections. Video recordings were owned by 36 (83.7%) of the boys, 28 (65.1%) of participants had computer software, 28 (65.1%) owned audio recordings, and 21 (48.8%) of the collections also included magazines.
In the interview data analysis, a number of themes were revealed. All of the boys except one owned fiction. Some genres appeared frequently and were different than the ones found in the inventories taken of the girls in the larger study. Genres in the boys’ collections included fantasy, science fiction, sports stories, and humorous stories. The boys also discussed genres they did not enjoy: classic children’s fiction, such as The Adventures of Robin Hood, love stories, and “books about groups of girls” (61). All but five boys had series books such as Animorphs, Captain Underpants, Redwall, and Magic Treehouse in their collections.
All study participants except for one owned non-fiction titles. When asked what their favourite book was, many of the boys chose a non-fiction title. Holdings included subjects such as “jokes, magic, sports, survival guides, crafts, science, dictionaries, maps, nature, and dinosaurs” (62).
In addition to books, the boys reported owning and reading a wide range of other materials. Comics, manga, magazines, pop-up and other toy books, sticker books, colouring books, puzzle books, and catalogues were among the collection inventories. Only one boy read the newspaper.
Another theme that emerged from the interview data was “gaming as story” (63). The boys who read video game manuals reported reading to learn about the game, and also reading to experience the game’s story. One boy’s enjoyment of the manual and the game came from the narrative found within.
Various reading practices were explored in the interviews. Formats that featured non-linear reading were popular. Illustrations were important. Pragmatic reading, done to support other activities (e.g., Pokeman), was “both useful and pleasurable” (54).
And finally, the issue of what counts as reading emerged from the data. Many boys discounted the reading that “they liked the best as not really being reading” (65). Some of the boys felt that reading novels constituted reading but that the reading of computer manuals or items such as science fair project books was “not really reading” (65). A distinction was made between real books and information books by the boys.
Conclusions – The researcher explored what has been labelled as the “problem” of boys reading in this paper. She found that the 43 boys in this study are reading, but what they are reading has been undervalued by society and by the boys themselves. Collection inventories found a large number of non-fiction books, computer magazines, comic books, graphic novels, and role-playing game manuals—items not necessarily privileged by libraries, schools, or even by the boys themselves. The researcher suggests that “part of the ‘boys and reading problem’ then lies in what we count as reading” (66). By keeping what boys are actually reading in mind when it comes to collection development and library programming, children’s librarians can “play a central role in legitimizing the reading practices of boys” (66).
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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 of O. Eliseeva’s novel is a synthesis of the personalities and actions of Julius Caesar and Constantine the Great, so the writer used the motif of the fantasy world, in which the Roman Republic and Rome are replaced by Latium and Eternal City with the Nazarenes (i.e., Christians) playing an important role in its future. The trilogy “Divine World” by Boris Tolchinsky, a professional politologist, is the most radical inversion of the reality with its own alternative history. The world of the Amorian Empire is a synthesis of the ancient Mediterranean and the ancient Egyptian civilizations. These texts can be considered as “imperial literature” tied to the post-Soviet realities and projects aimed to find a better future.
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Mazurkiewicz, Adam. "O (nie tylko estetycznych) pożytkach z lektury fantastyki naukowej." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, no. 3 (December 13, 2021): 9–44. http://dx.doi.org/10.36770/bp.621.
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The article is devoted to the potential benefits of a variety of natures from reading science fiction. They are divided into aesthetic and non-artistic, related to the functioning of this phenomenon in the congregational imagination, which models and at the same time is modelled by it. Given the properties of science fiction and its role in the reading circuit, one can conclude about the importance of science fiction as an artistic formula that approximates both the future and the dilemmas of the present, hidden in a futuristic stack of props (this is evident especially when reading socio-political fiction). At the same time, the reading experience contradicts such a high rating of science literature, most often – above – aspiring only to readily attractive “adventurials in space/cyberspace”. Indeed, if there are any advantages of reading science fiction, it must be realised, first of all, that they depend mainly on the expectations of the audience; their reading attitude (that is whether they will treat science fiction as a manifestation of literary escapism, or perhaps a medium of important socio-civilizational issues). However, readers who treat novels in an escapist way can be contrasted with those who equate it with the specific language of discourse over the present day. Therefore, it is important how the author will treat the chosen convention: as an excuse to present further “adventure in space”, or as an opportunity to look at the present from a special perspective, which is provided by the narrative future of action time of science fiction novels. Only then will it be possible to speak of the benefit of reading science fiction, which is more or less indirectly linked to the life of the reader.
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Berry, Chris. "No Father-and-Son Reunion: Chinese Sci-Fi in The Wandering Earth and Nova." Film Quarterly 74, no. 1 (2020): 40–44. http://dx.doi.org/10.1525/fq.2020.74.1.40.
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Chinese films in “the Chinese century” are more expansively confident than ever. A new vogue for science fiction, a genre that has taken off in China alongside the country's stratospheric growth, suggests that China is ready to take up the baton of galactic discovery adventure. Chris Berry examines the father-son narratives in The Wandering Earth (Frant Gwo, 2019) and Nova (Cao Fei, 2019), two recent films that link Chinese patriarchy to the triumph and trials of modern science and progress. The Wandering Earth reaffirms those dominant models in action adventure mode, while Nova's melancholic wanderings are ambivalent and even mournful. Nova reveals a more complex and varied Chinese imagination regarding the challenges presented by the twenty-first century than a mainstream production like The Wandering Earth.
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Christopher, Joe R. "Review: The Transcendent Adventure: Studies of Religion in Science Fiction/Fantasy." Christianity & Literature 35, no. 4 (September 1986): 32–34. http://dx.doi.org/10.1177/014833318603500409.
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Schwartz, Matthias. "How Nauchnaia Fantastika Was Made: The Debates about the Genre of Science Fiction from NEP to High Stalinism." Slavic Review 72, no. 2 (2013): 224–46. http://dx.doi.org/10.5612/slavicreview.72.2.0224.
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Based on a detailed analysis of published and unpublished sources, Matthias Schwartz reconstructs the making of Soviet science fiction in the cultural context of Soviet literary politics. Beginning in the 1920s, nauchnaia fantastika (scientific fantasy) became one of the most popular forms of light fiction, though literary critics and activists tended to dismiss it because of its origins in popular adventure, its ties to the so-called Pinkerton literature, and its ambiguous relationship to scientific inventions and social progress. Schwartz's analysis shows that even during high Stalinism, socialist realism's norms were far from being firmly established, but in the case of nauchnaia fantastika had to be constantly negotiated and reconstituted as fragile compromises involving different interest groups (literary politicians, writers, publishers, readers). A cultural history of Soviet science fiction also contributes to a better understanding of what people actually wanted to read and sheds new light on the question of how popular literature adapts to political changes and social destabilizations.
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Jerreat-Poole, Adan. "Virtual Reality, Disability, and Futurity Cripping Technologies in Half-Life: Alyx." Journal of Literary & Cultural Disability Studies 16, no. 1 (February 1, 2022): 59–75. http://dx.doi.org/10.3828/jlcds.2022.4.
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The article takes up Valve’s 2020 science fiction virtual reality (VR) game Half-Life: Alyx as a site through which to explore the complex relationship between bodies, technology, and disability. It discusses the way that VR inadvertently challenges both the fantasy of hyperable-bodiedness found in action-adventure, first-person shooter, and science fiction video games, and the myth of digital disembodiment—the idea that we can (and perhaps should desire to) transcend the physical body through digital avatars. Technology has an intimate relationship with pain, discomfort, and physicality, and this analysis of VR and Alyx foregrounds the messiness of embodied bionic encounters. Within the science fiction alternate reality of the game, technology plays a key role, often explicitly enhancing or augmenting the body. In an imaginative turn, the article takes up drones, gravity gloves, and the telephone headset as objects through which to fashion a more feminist and ethical future. Engaging in imaginative “criptastic hacking” (Yergeau in Hamraie and Fritsch 4), the article discusses potential ways of using technology as access aids, enacting a “cripped cyborg politics” (Kafer 106) and exploring the intimate relationships between organic and inorganic bodies.
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Sexton, Max. "The Tripods: Distinction, Science Fiction and the BBC." Journal of British Cinema and Television 13, no. 3 (July 2016): 469–83. http://dx.doi.org/10.3366/jbctv.2016.0330.
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This article focuses on how mode and genre shaped the formal and narrative possibilities in The Tripods (BBC, 1984–5). It explores how the first and second series are substantially different from each other and offers an approach that attempts to explain the complex ways in which generic boundaries are made to operate within television. Such an approach can offer insight into how modifications in mode were a desire to replace an existing but ailing show, Doctor Who (BBC, 1963–) with one that would be successful because it fitted the existing industrial model of televisual flow. However, The Tripods ultimately failed because it deployed a strategy of visual distinction in contravention of the prevailing industrial televisual model. The regulation of form can be shown to be historically specific on British television, and the article examines assumptions regarding the fluidity of genre in this particular medium. The modification of The Tripods from an adventure show that addressed a general television audience to one that specifically addressed fans of science fiction demonstrates how shifts in genre can be linked to wider arguments about the increased complexity of the television image and a strategy of visual distinction as an example of the ‘era of availability’ on British television. Finally, a discussion of genre demonstrates the tensions between stability and uncertainty in an extensive cultural form such as television, and how the modality of genre is made complex by bringing together the social and the technological.
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Fyn, Amy F. "Sources: Encyclopedia of Adventure Fiction: The Essential Reference to the Great Works and Writers of Adventure Fiction." Reference & User Services Quarterly 49, no. 1 (September 1, 2009): 93. http://dx.doi.org/10.5860/rusq.49n1.93.
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Goodwin, Craufurd D. "The First Globalization Debate: Crusoe vs. Gulliver." QA Rivista dell'Associazione Rossi-Doria, no. 3 (September 2011): 107–25. http://dx.doi.org/10.3280/qu2011-003005.
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Two of the earliest novels in English, Robinson Crusoe (1719) by Daniel Defoe and Gulliver's Travels (1726) by Jonathan Swift, are widely perceived as an entertaining adventure story and a pioneering work of science fiction. Viewed by modern economists, however, they appear as expressions of opposing positions on the desirability of integration within a world economy. Crusoe demonstrated the gains from trade and colonization and the attendant social and political benefits. By contrast, Swift warned of complex entanglements that would arise from globalization, especially with foreign leaders who operated from theory and models rather than common sense.
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Kennedy, Meegan. "TONO-BUNGAY AND BURROUGHS WELLCOME: BRANDING IMPERIAL POPULAR MEDICINE." Victorian Literature and Culture 45, no. 1 (February 13, 2017): 137–62. http://dx.doi.org/10.1017/s1060150316000474.
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H. G. Wells's 1908 novel Tono-Bungay is a remarkable concoction, binding together characters and setting out of Dickens, sparkling imitations of fin-de-siécle commodity culture and new media, bitter social satire inflected by Wells's socialism, fascination with invention and flight, and murderous imperial adventure. Readers, though often seduced by the wit and precision of Wells's depiction of patent medicines and their advertisements, have not known whether to read the narrative as anti-Bildungsroman, Condition of England novel, science fiction, or imperial romance. It is no wonder that many critics have labeled this novel a failure.
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Kasparyan, K. V., and M. V. Rutkovskaya. "Features of the reflection of computer technologies and social networks in fiction and fantasy cinema in the XIX – early XXI centuries." Philosophical Problems of IT & Cyberspace (PhilIT&C), no. 1 (August 3, 2022): 34–60. http://dx.doi.org/10.17726/philit.2022.1.3.
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The article is devoted to understanding the specific features of the reflection of computer technologies and social networks in the works of science fiction writers and in films made as part of development of the fantasy genre. In their work, the authors give a brief description of the essential aspects of the functioning of computer technologies and social networks. The article examines the degree of significance of the above phenomena for the effective development and existence of human civilization as a whole, and also analyzes the essence of social networks as a cultural phenomenon that has a significant impact on the development of social relations. This study indicates the inconsistency of the statement according to which the fantasy genre is not an essential segment of world art and demonstrates the need to take into account such works when understanding the technological development of human civilization and the evolution of relations in society towards the online mode. In this paper, the features of displaying the development of technology in science fiction literature and adventure fiction are analyzed with a comparative analysis of the difference in approaches in these two components of the fantasy genre. The study also comprehends the reasons for the lack of serious interest in displaying the analogue of social networks in fiction literature and cinema, and provides a justification for changes in this issue in the early 1980-s. This article examines the characteristic features of the dynamics of the reflection of the development of social networks in fiction literature at the end of the XX – first decades of the XXI century, taking into account changes in public relations in this period.
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Zontek, Robert. "Od trawelogu do King Konga. Misja badawcza jako motyw kina lat dwudziestych i trzydziestych w świetle imaginarium społecznego epoki." Prace Kulturoznawcze 23, no. 2 (November 7, 2019): 75–104. http://dx.doi.org/10.19195/0860-6668.23.2-3.6.
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From the travelogue to King Kong: Science expeditions as a cinematic motif of the 1920s and 1930s in light of the social imaginaries of the eraScience expeditions are a staple of cinematic fiction. The theme has been utilized in dozens of permutations in different media and film genres ranging from adventure flicks to family comedies and horrors. Indiana Jones, undoubtedly the best-known “field researcher” in the world, is one of popular culture’s most recognizable figures. In this article, however, I am interested in an era predating his cinematic debut by at least a half century. Its main focus is the 1920s/1930s threshold in which science expeditions began constituting themselves as a motif of cinema and the reasons why such a seemingly august, scholarly enterprise transformed into a popcultural phenomenon. My analysis will focus on two often overlooked but massively popular genres of the era: expeditionary films and exotic exploitation films, both of which, I argue, can be traced back to the ethnographic travelogue. I begin my inquiries — and end them — with Merian C. Cooper’s and Ernest B. Schoedsack’s King Kong 1993, which provides me with a framework for describing the ever-fickle relationship between documentary, fiction, truth and fabrication, which defined the cinematic representations of science expeditions from the very beginning.
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Bellos, David. "Mathematics, poetry, fiction: the adventure of the Oulipo." BSHM Bulletin: Journal of the British Society for the History of Mathematics 25, no. 2 (July 2010): 104–18. http://dx.doi.org/10.1080/17498430903489237.
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Holterhoff, Kate. "Late Nineteenth-Century Adventure Fiction and the Anthropocene." Configurations 27, no. 3 (2019): 271–300. http://dx.doi.org/10.1353/con.2019.0017.
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Cascone, Kim. "Kodwo Eshun: More Brilliant than the Sun: Adventures in Sonic Fiction Quartet Books, 1998, 222 pages, softcover, bibiography, discography, acknowledgments, index, ISBN 0-7043-8025-0; available from Quar-tet Books, 27 Goodge St., London W1P 2LD, UK; World Wide Web www.interlinkbooks.com." Computer Music Journal 24, no. 1 (March 2000): 88–89. http://dx.doi.org/10.1162/comj.2000.24.1.88.
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Cohen, Margaret. "Narratology in the Archive of Literature." Representations 108, no. 1 (2009): 51–75. http://dx.doi.org/10.1525/rep.2009.108.1.51.
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To chart accurately the contours of the novel, literary historians are in the process of recovering the variety and complexity of its generic practice across its history. "Narratology in the Archive" surveys this recovery and discusses its methodology, differentiating this recovery from symptomatic reading. The article then illustrates this method with the recovery of sea adventure fiction as an influential transnational practice of the novel from Defoe to Conrad. I suggest that sea adventure plots are defined by readers' playful manipulation of information to solve problems posed by the text.
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Ni, Zhange. "Xiuzhen (Immortality Cultivation) Fantasy: Science, Religion, and the Novels of Magic/Superstition in Contemporary China." Religions 11, no. 1 (January 2, 2020): 25. http://dx.doi.org/10.3390/rel11010025.
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In early twenty-first-century China, online fantasy is one of the most popular literary genres. This article studies a subgenre of Chinese fantasy named xiuzhen 修真 (immortality cultivation), which draws on Daoist alchemy in particular and Chinese religion and culture in general, especially that which was negatively labelled “superstitious” in the twentieth century, to tell exciting adventure stories. Xiuzhen fantasy is indebted to wuxia xiaoshuo 武俠小說 (martial arts novels), the first emergence of Chinese fantasy in the early twentieth century after the translation of the modern Western discourses of science, religion, and superstition. Although martial arts fiction was suppressed by the modernizing nation-state because it contained the unwanted elements of magic and supernaturalism, its reemergence in the late twentieth century paved the way for the rise of its successor, xiuzhen fantasy. As a type of magical arts fiction, xiuzhen reinvents Daoist alchemy and other “superstitious” practices to build a cultivation world which does not escape but engages with the dazzling reality of digital technology, neoliberal governance, and global capitalism. In this fantastic world, the divide of magic and science breaks down; religion, defined not by faith but embodied practice, serves as the organizing center of society, economy, and politics. Moreover, the subject of martial arts fiction that challenged the sovereignty of the nation-state has evolved into the neoliberal homo economicus and its non-/anti-capitalist alternatives. Reading four exemplary xiuzhen novels, Journeys into the Ephemeral (Piaomiao zhilv 飄渺之旅), The Buddha Belongs to the Dao (Foben shidao 佛本是道), Spirit Roaming (Shenyou 神遊), and Immortality Cultivation 40K (Xiuzhen siwannian 修真四萬年), this article argues that xiuzhen fantasy provides a platform on which the postsocialist generation seek to orient themselves in the labyrinth of contemporary capitalism by rethinking the modernist triad of religion, science, and superstition.
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STOYANOVA, Tanya. "FANTASY AND REALITY IN THE NOVEL "ZHARI IN AFRICA" BY EMIL KORALOV." Ezikov Svyat volume 20 issue 1, ezs.swu.v20i1 (February 10, 2022): 147–52. http://dx.doi.org/10.37708/ezs.swu.bg.v20i1.19.
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The deals with the novel “Zhari in Africa” by Emil Koralov, published in 1942. The author of the paper focuses on the fantastic in the novel – the mechanisms that realize it, the relations between fantasy and realism. She pays attention to the adventure, the education, the cult of the science and the Utopia in view of the fact that this novel was created for children. Fantasy is a relatively young genre in contemporary Bulgarian literature. It was created under the influence of the translated literature and its beginning can be traced in diabolism. Between World War I and World War II far more fantastic books for children were published than for the adults. Such books were written by Emil Koralov, Elin Pelin, Nikolay Fol, etc. The accent is on adventure, travels in unknown lands and seas, and new technologies. The authors use some motifs from folklore and mythology. Emil Koralov was one of the first authors who wrote science fiction in the field of children’s literature and he was actually the most prolific writer between the World War I and the World War II. He wrote more than twenty novels for two decades. These novels were published in sequential instalments on the pages of the literary newspaper for children and teenagers “The Jolly Company”. Then these novels were exceptionally popular.
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Z. Alkhafaji, Mayada, and Ansam Yaroub. "HUMAN LAB RATS IN JAMES DASHNER’S THE MAZE RUNNER SERIES (2009 – 2011): HISTORICAL REFERENCES, PRESENT ALLUSIONS, AND DYSTOPIAN FUTURE." Humanities & Social Sciences Reviews 7, no. 5 (November 5, 2019): 1121–29. http://dx.doi.org/10.18510/hssr.2019.75148.
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Purpose: This study aims to shed the light on allusions to real lab rats in Dashner’s trilogy: The Maze Runner (2009), The Scorch Trails (2010), and The Death Cure (2011). It also aims to trace the historical documents and chronicles essential to reveal the justifications behind the vague political and scientific crimes. Methodology: The researchers have used the literary analytical approach to study and analyze selected prominent aspects from each novel; such as the concept of lab rats and genocide crimes in The Maze Runner; references to weather experiments, the climate change conspiracy, gas chambers, and the Holocaust in The Scorch Trails; and finally, the man-made diseases and biological weapons in The Death Cure. Results: The outcomes confirm the necessity of knowing history whether bright or dark as a keyword to understand the present and predict the future. Also, Dashner has based The Maze Runners series on historical references as well as present-day vital scientific issues to predict a catastrophic future if a decision is not made. Young adult is chosen to lead the revolution against human abusing crimes and make a change. Applications: To develop a high understanding of young adult fiction, the researchers recommend those who are interested in literature with the necessity to apply this study to other post-apocalyptic, survival, adventure, science and dystopian series fictions, movies adaptations of related books, and related video games series that addressing young adults’ mind in order to diagnose any dilemma . Novelty/Originality: Hence, this study makes a difference in the sense of exposing the genocide crimes committed by the name of science embedded in Dashner's The Maze Runners series by tracing the historical, social, political, and scientific justifications regarding the concept of human lab rats as one of the worst human abusing experiences still used by tyrant regimes till now in ethnic and sectarian purification.
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Schwanebeck, Wieland. "Book Review: Masculinities in British Adventure Fiction, 1880-1915." Men and Masculinities 15, no. 1 (April 2012): 84–85. http://dx.doi.org/10.1177/1097184x12439881.
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Gordon, Michael Ross. "The Wormhole of Montesinos: Don Quixote's Cave Adventure as a Tale of Science Fact and Fiction." Cervantes: Bulletin of the Cervantes Society of America 41, no. 2 (September 2021): 75–105. http://dx.doi.org/10.1353/cer.2021.0025.
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Wangid, Muhammad Nur, Chandra Adhi Putra, and Hendra Erik Rudyanto. "The Science-Math Stories Based on Digital Learning: Digital Literacy Innovation in Increasing Ability to Solve Problems." International Journal of Emerging Technologies in Learning (iJET) 16, no. 09 (May 4, 2021): 94. http://dx.doi.org/10.3991/ijet.v16i09.22039.
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The existence and use of technology can be a means of maximizing the potential of students' thinking abilities, including the ability to solve problems. Learning that utilizes cellular technology that contains material in science-math stories be-comes one of the ways of utilizing technological developments in learning activi-ties. The study used a pretest-posttest control group design with more than one experimental group. There were two experimental groups from two schools that experienced learning with science-math stories based on digital learning as digital literacy media, and one control group from another school who carried out litera-cy activities using reading books in the class and the library. The use of science-math stories based on digital learning as a digital literacy media can improve problem-solving skills for elementary school students. The main content in the form of realistic fiction illustrated stories with adventure themes that raise envi-ronmental problems to be solved becomes the main strategy in improving the ability to solve the problems of elementary school students.
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Barnsley, Veronica. "Everyday childhoods in contemporary African fiction." Journal of the British Academy 10s2 (2022): 283–96. http://dx.doi.org/10.5871/jba/010s2.283.
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This article contends that humanitarian imagery and sociopolitical discourses that present African childhoods as �lacking� are being rigorously challenged by African fiction that illuminates the diversity of childhood experiences that make up the everyday. The article aims to show that neither the trope of the African child as silent victim nor the globalised African child whose trajectory is characterised by escape from local and national ties is able to capture the complexity and plurality of �parochial� (Jaji 2021) childhoods and suggests that new versions of childhood are emerging in African writing. By analysing the role of the everyday and the ambiguity of play in fiction by Tsitsi Dangarembga, NoViolet Bulawayo, Jennifer Nansubuga Makumbi and Khadija Abdalla Bajaber, alongside stories from the 2021 Caine Prize shortlist, the article showcases the fresh and adventurous narratives of childhood to be found in contemporary African fiction.
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LAWSON, ANDREW. "Writing a Bill of Exchange: The Perils of Pearl Street, The Adventures of Harry Franco, and the Antebellum Credit System." Journal of American Studies 54, no. 4 (March 20, 2019): 645–70. http://dx.doi.org/10.1017/s0021875819000100.
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This article examines representations of credit instruments in two popular antebellum fictions: Asa Greene's The Perils of Pearl Street and Charles Frederick Briggs's The Adventures of Harry Franco. Drawing on a range of business histories it describes the operation of promissory notes and bills of exchange in the cotton-for-credit system, focussing on the “principle of deferral” and the ways in which these instruments attempted to solve the problem of time in long-distance exchange. By establishing concrete connections between characters, times, and places, these fictions demystify the antebellum financial system, revealing an economy based on new forms of social interdependence.
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Goddard, Chris. "Not the Last Word: Point and Counterpoint: The “Sweet” and the “Swill”: Farewell Welfare?" Children Australia 14, no. 4 (1989): 17–18. http://dx.doi.org/10.1017/s0312897000002460.
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“It was a bright cold day in April, and the clocks were striking thirteen” (Orwell, 1949). The opening lines of 1984 have passed into the collective consciousness, gathering the familiarity that is reserved for great works of literature. The ‘Ministry of Truth’ was Winston Smith's employer and the name is now applied by journalists to the Victorian Government's media unit.Much science fiction has been treated with condescension and the label of approval, ‘literature’, has been applied sparingly, if at all. I have enjoyed the genre since reading The War of the Worlds by H.G. Wells. The terror and adventure of the story of the invasion by Martians held me enthralled, but the real thrill for me as a schoolboy was that much of the early action took place where I lived.
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MAKSOUD, SIBELLE, KHALED TALEB, and DANY AZAR. "Four new Lower Barremian amber outcrops from Northern Lebanon." Palaeoentomology 2, no. 4 (August 30, 2019): 333–39. http://dx.doi.org/10.11646/palaeoentomology.2.4.6.
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Amber is a fossilized plant resin that is preserved and modified throughout geological time (Langenheim, 1969). The complexity of the chemical composition of amber makes it unique considering the preservation of biological inclusions in their 3D pristine and minute details (Langenheim, 2003). Its age ranges between a few millions and 320 million years (mid-Carboniferous) (Sargent Bray & Anderson, 2009). During the past two to three decades, the discoveries worldwide of new amber outcrops have increased. There is no doubt that Jurassic Park in 1993, the famous American science fiction adventure thriller film directed by Steven Spielberg and based on the novel of the same name by Michael Crichton, played a noticeable role in making amber more popular. Before this date, interest in amber was mainly restricted to Baltic and Caribbean countries, though amber occurrence was known from several localities worldwide.
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Yurchenko, Tatiana. "ONLY STAYING THE COURSE REALLY MATTERS." Herald of Culturology, no. 3 (2021): 60–70. http://dx.doi.org/10.31249/hoc/2021.03.04.
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This article addresses the peculiarities of genre, style and personages of V. Sorokin’s new novel «Doctor Garin» (2021) with the reference to the latest critical reviews. It is stressed that «Doctor Garin» is the first writer’s experience in the adventure fiction and that because of this fact his novel for the first time has both the happy ending and a protagonist with positive character traits. Also the genres of romance, fairy tale, menippea and even stealth are mentioned as having some features in common with Sorokin’s novel. A special attention is paid to the associative connection with Russian literature.
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Telotte, J. P. "Science Fiction as "True-Life Adventure": Disney and the Case of 20,000 Leagues Under the Sea." Film & History: An Interdisciplinary Journal of Film and Television Studies 40, no. 2 (2010): 66–79. http://dx.doi.org/10.1353/flm.2010.0026.
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