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Journal articles on the topic 'Science fiction – History and criticism'
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1
Roberts, R. "American Science Fiction and Contemporary Criticism." American Literary History 22, no. 1 (November 20, 2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.
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Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.
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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.
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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Jurnal POETIKA 5, no. 1 (July 31, 2017): 37. http://dx.doi.org/10.22146/poetika.25810.
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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Poetika 5, no. 1 (July 31, 2017): 36. http://dx.doi.org/10.22146/poetika.v5i1.25810.
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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Zhang, Zhehui. "A Post-Colonial Approach to The Man Who Ended History: A Documentary." English Language and Literature Studies 10, no. 2 (April 16, 2020): 53. http://dx.doi.org/10.5539/ells.v10n2p53.
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The Man Who Ended History: A Documentary is a science fiction by Chinese American science fiction writer Ken Liu (1976-). Based on the theory of Post-Colonial Criticism, this paper makes a concrete analysis of the text from the perspectives of three eminent contemporary theorists, aiming at the readers’ better understanding of the work, and eliminating ethnocentrism, racism, unilateralism and hegemony; keeping history in mind and justifying the names of innocent humans who have been persecuted; safeguarding world peace, and building a community with a shared future for mankind.
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Ksenofontova, Alexandra. "Towards an Interdisciplinary Approach to Time in Fiction." KronoScope 23, no. 1 (May 31, 2023): 86–103. http://dx.doi.org/10.1163/15685241-bja10008.
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Abstract The paper surveys five major perspectives on studying time in fiction: narratology, history of temporal regimes, temporal pluralism, aesthetics of time, and politics of time. It argues that these approaches have so far remained largely unintegrated, leading to a separation between areas of literary criticism that are in reality closely linked. In particular, some approaches separate time as subject from time as the principal element of narratives. Some approaches disregard the transhistorical plurality of temporal experiences, while others turn a blind eye to larger historical changes in the perception of time. Finally, some scholars choose to focus only on temporal aesthetics, while others explore only the fictional politics of time. Scrutinizing these three schisms of studying time in literary criticism, the paper argues for a re-integrated approach that accommodates insights from various disciplines and adopts a broader perspective on time and temporality in fiction.
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Drozdova, Daria N. "Francis Bacon, Between Myth and History." Epistemology & Philosophy of Science 58, no. 3 (2021): 6–21. http://dx.doi.org/10.5840/eps202158339.
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Over the last 400 years, attitudes toward Francis Bacon's philosophy have changed considerably: the 17-century interest and the 18-century enthusiasm have been replaced by the 20-century criticism and reevaluation. However, both the praise and the rejection of the Lord Chancellor’s philosophical ideas often originate from the isolation and absolutization of particular features of his philosophy that can sometimes be in opposition to each other. These partial readings are justified by the fact that the reference to Bacon’s methodological and epistemological legacy has a symbolic meaning and is part of what is called “image of science” in Y. Elkana’s terminology. The way in which references to Bacon are used at different times and in different contexts is, in fact, a functional myth or theoretical fiction (I. Kasavin) in which the “historical Bacon” is fading away and what emerges is important and meaningful to those who declare themselves his followers or who lash out at him with criticism.
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Sandberg, Russell. "The Employment Status of Ministers: A Judicial Retcon?" Religion & Human Rights 13, no. 1 (March 27, 2018): 27–48. http://dx.doi.org/10.1163/18710328-13011152.
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Abstract “Retroactive continuity”, often abbreviated as “retcon”, is a term often used in literary criticism and particularly in relation to science fiction to describe the altering of a previously established historical continuity within a fictional work. To date, however, the concept has not been used in relation to law. Legal judgments often refer to history and include historical accounts of how the law has developed. Such judgments invariably include judicial interpretations of history. On occasions, they may even include a “retconned” interpretation of legal history – a “judicial retcon” – that misrepresents the past and rewrites history to fit the “story” of the law that the judge wants to give. This article explores the usefulness of a concept of a “judicial retcon” by means of a detailed case study concerning whether ministers of religion are employees.
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Collinge, James T. "‘With envious eyes’: Rabbit-poaching and class conflict in H. G. Wells’s The Time Machine and The Island of Doctor Moreau." Literature & History 26, no. 1 (May 2017): 39–55. http://dx.doi.org/10.1177/0306197317695082.
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Allusions to rabbits and poaching recur throughout H. G. Wells's work. In spite of the frequency with which they appear, these motifs remain overlooked within scholarly criticism. This article, by analysing Wells's representations of rabbit-poaching, first considers how nineteenth-century histories of industrialisation and game-crime shape his science fiction. It then explores the contradictory nature of these representations, which both demonise and sympathise with the figure of the rabbit-poacher, providing further insight into the class confusion that recent criticism perceives to characterise Wells's writing in this period.
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Kambon, Ọbádélé Bakari, and Lwanga Songsore. "Fiction vs. Evidence: A Critical Review of Ataa Ayi Kwei Armah’s Wat Nt Shemsw and the Eurasian Rhetorical Ethic." African and Asian Studies 20, no. 1-2 (April 27, 2021): 124–53. http://dx.doi.org/10.1163/15692108-12341486.
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Abstract At the 2018 Outstanding African Thinkers Conference on Nna Chinweizu, attendees – the first author included – took a pledge that “In all branches of our lives, we must be capable of criticizing and of accepting criticism. But criticism, proof of the willingness of others to help us or of our willingness to help others, must be complemented by self-criticism – proof of our own willingness to help ourselves to improve our thoughts and our actions. This is a sacred principle and it is my sacred duty to apply and defend it at all costs” (Chinweizu 2018). In response to that call to action, this article represents an effort to restore MꜢꜤt ‘Maat.’ Ataa Ayi Kwei Armah’s Wat Nt Shemsw: The Way of Companions epitomizes undeclared fiction masquerading as an accurate reflection of the mythology of classical Kmt ‘Land of Black People.’ By cross-checking Ataa Armah’s undeclared fiction with actual historical, iconographical, and archaeological data, we are able to debunk his numerous misrepresentations. We find that the best way to approach Kmt ‘Land of Black People’ is through direct engagement with actual evidence rather than through the distortions of fiction writers turned Egyptologists. Further, we will address the personality cult, or what we term “Ataa Armah’s Manor Shemsw model,” which embodies the rhetorical ethic whereby all egalitarians are equal, but some egalitarians are more equal than others (Orwell, Baker, and Woodhouse 1996).
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Lähteenmäki, Ilkka. "Possible Worlds of History." Journal of the Philosophy of History 12, no. 1 (March 22, 2018): 164–82. http://dx.doi.org/10.1163/18722636-12341354.
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Abstract The theory of possible worlds has been minimally employed in the field of theory and philosophy of history, even though it has found a place as a tool in other areas of philosophy. Discussion has mostly focused on arguments concerning counterfactual history’s status as either useful or harmful. The theory of possible worlds can, however be used also to analyze historical writing. The concept of textual possible worlds offers an interesting framework to work with for analyzing a historical text’s characteristics and features. However, one of the challenges is that the literary theory’s notion of possible worlds is that they are metaphorical in nature. This in itself is not problematic but while discussing about history, which arguably deals with the real world, the terminology can become muddled. The latest attempt to combine the literary and philosophical notions of possible worlds and apply it to historiography came from Lubomír Doležel in his Possible Worlds of Fiction and History: The Postmodern Stage (2010). I offer some criticism to his usage of possible worlds to separate history and fiction, and argue that when historiography is under discussion a more philosophical notion of possible worlds should be prioritized over the metaphorical interpretation of possible worlds.
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Menadue, Christopher Benjamin. "Hubbard Bubble, Dianetics Trouble: An Evaluation of the Representations of Dianetics and Scientology in Science Fiction Magazines From 1949 to 1999." SAGE Open 8, no. 4 (October 2018): 215824401880757. http://dx.doi.org/10.1177/2158244018807572.
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Dianetics was unveiled to the public in the May 1950 edition of Astounding Science Fiction. Dianetics was the brainchild of science fiction author L. Ron Hubbard, and became the foundation for scientology toward the end of the decade. Dianetics was marketed as a “scientific” method for mental improvement—a robust alternative to conventional psychiatry—and was strongly debated in science fiction (sf) magazines. This article follows the trajectory of this cultural phenomenon from 1949 to 1999 as it appeared in this form of popular culture. A proximal reading method was applied to analyze 4,431 magazines, and identified 389 references to dianetics and scientology. References were found in advertising, reader letters, stories, feature articles, and editorials. Significant fluctuations in the prominence and perception of dianetics became clearly visible in the source material across a broad spectrum of content. Negative criticism was present from the outset, and based on logical and scientific arguments. This was countered by obfuscation, or attacks on the authors of these critiques. The followers and promoters of dianetics did not provide scientifically rigorous proof of their claims, and by the mid-1980s, dianetics and scientology were no longer serious topics in the magazines but had been added to other fads and fallacies of sf history. This article demonstrates the effectiveness of a digital humanities proximal reading method to underpin objective classification and analysis of this culturally significant phenomenon.
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Gómez López, Susana. "Enthusiasm and Platonic furor in the Origins of Cartesian Science: The Olympian Dreams." Early Science and Medicine 25, no. 5 (November 25, 2020): 507–35. http://dx.doi.org/10.1163/15733823-00255p04.
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Abstract In the Olympica, the lost manuscript wherein Descartes described his famous three dreams, he wrote that on the night of Saint Martin in 1619 he felt asleep in a state of enthusiasm. He interpreted the dreams that ensued as the divine revelation of the principles of a new and admirable science. I here propose that the Olympica were a literary fiction devised by Descartes to legitimize his arrival on the philosophical scene by proposing the principles of a new science. The function of dreams as the best way to reach true wisdom is in line with a long philosophical tradition. This paper offers an attempt to understand the Cartesian enthusiasm in its context, that is, before the criticism of enthusiasm as something incompatible with reason became widespread and when it was still linked to the Platonic theory of furor – poetic and divine – the state that allows the subject access to the truth.
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Suharmono. "Hermeneutika Dialogis sebagai Basis Filosofis dalam Fiksyen dan Sejarah, Suatu Dialog Karya Umar Junus." SASDAYA: Gadjah Mada Journal of Humanities 7, no. 1 (June 19, 2023): 15–38. http://dx.doi.org/10.22146/sasdaya.v7(1).15-38.
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This study aims to explain dialogical hermeneutics, one of the scientific paradigms that can bridge the confusion of thinking in explaining the relationship between literature and reality/history. The material object used is Fiction and History of Dialogue, while the formal object is the dialogical hermeneutic paradigm in the book. The purpose of this study is to describe the basic assumptions; model; and the concepts that make up dialogic hermeneutics. The theoretical framework and method used as the basis for the analysis are Thomas Khun's thoughts related to paradigms. The results of the research show that Fiction and Dialogue History books criticize in discussing fiction which is dominated by mimetic and semiotic concepts as well as history which is seen as something that is often contrasted with fiction. Junus offers an alternative idea in the form of dialogue (hermeneutics) as a new way of looking at the relationship between fiction and history/reality. Junus uses an analogy model to see the relationship between fiction and history/reality. The concepts put forward include the Concept of Definition of Fiction; The Nature of Reality in Stories; Fiction and Heurmenetics; Fiction Shapes Reality; Perspective of Fiction and Reality of Writers and Readers; and Fiction and History.
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Suharmono. "Hermeneutika Dialogis sebagai Basis Filosofis dalam Fiksyen dan Sejarah, Suatu Dialog Karya Umar Junus." Sasdaya: Gadjah Mada Journal of Humanities 7, no. 1 (June 19, 2023): 15–38. http://dx.doi.org/10.22146/sasdaya.7107.
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This study aims to explain dialogical hermeneutics, one of the scientific paradigms that can bridge the confusion of thinking in explaining the relationship between literature and reality/history. The material object used is Fiction and History of Dialogue, while the formal object is the dialogical hermeneutic paradigm in the book. The purpose of this study is to describe the basic assumptions; model; and the concepts that make up dialogic hermeneutics. The theoretical framework and method used as the basis for the analysis are Thomas Khun's thoughts related to paradigms. The results of the research show that Fiction and Dialogue History books criticize in discussing fiction which is dominated by mimetic and semiotic concepts as well as history which is seen as something that is often contrasted with fiction. Junus offers an alternative idea in the form of dialogue (hermeneutics) as a new way of looking at the relationship between fiction and history/reality. Junus uses an analogy model to see the relationship between fiction and history/reality. The concepts put forward include the Concept of Definition of Fiction; The Nature of Reality in Stories; Fiction and Heurmenetics; Fiction Shapes Reality; Perspective of Fiction and Reality of Writers and Readers; and Fiction and History.
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Zhdanko, Kirill E. "THE ROLE OF FICTIONALITY IN CONSTRUCTING POSSIBLE WORLDS: THE INTERDISCIPLINARY PERSPECTIVE." Научное мнение, no. 1-2 (February 16, 2024): 74–77. http://dx.doi.org/10.25807/22224378_2024_1-2_74.
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The article examines the history and development of the concept of possible worlds, originating from G. Leibniz, and fictionality, which is an analytical tool of logic and other branches of philosophy today. The author analyses how attitudes towards fictionality have changed in philosophy and literary criticism, and how this has influenced the emergence of possible worlds as an interdisciplinary problem. Particular attention is paid to the types of fiction that emerged as a result of interdisciplinary dialogue between philosophy and literary studies.
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Mancosu, Paola. "Tiempo e historia en De cuando en cuando Saturnina." Bolivian Studies Journal/Revista de Estudios Bolivianos 23 (December 19, 2018): 1–23. http://dx.doi.org/10.5195/bsj.2018.181.
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This paper rises from a reflection on the notion of ‘time’, ‘history’, and ‘past’ starting from an analysis of the science fiction novel De cuando en cuando Saturnina -Saturnina from time to time- Una historia oral del futuro (2004), written by Alison Spedding (Belper, Inglaterra, 1962). In particular, it will be shown how the novel to dispute the historical narrative and the temporal linearity, and advance an acute social criticism of the contemporany Bolivia and, above all, against the hierarchies of power in its intersectionality of ‘race’, class and gender, as historical constructions that legitimize social inequalities. Finally, this article aims to explore the narrative mechanisms through which the ideas of oral “counter-history” and Aymara temporal “concentricity” are reflected in the novel, at a structural and thematic level.
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Emma Liggins. "Victorian Sensation Fiction: A Reader's Guide to Essential Criticism (review)." Victorian Periodicals Review 43, no. 1 (2010): 83–84. http://dx.doi.org/10.1353/vpr.0.0110.
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Strout, Cushing, and Robert Shulman. "Social Criticism and Nineteenth-Century American Fictions." Journal of American History 75, no. 3 (December 1988): 929. http://dx.doi.org/10.2307/1901601.
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Fulloon, JD. "Shadows of the Empire/A New Hope." TSQ 11, no. 2 (May 1, 2024): 318–47. http://dx.doi.org/10.1215/23289252-11215522.
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Abstract Online news outlets have published a fair amount of journalism concerning Isabel Fall's 2020 science fiction short story, “I Sexually Identify as an Attack Helicopter,” later retitled “Helicopter Story.” Yet the highly polarized reception the story received has made up the bulk of the discourse. This is a tragic oversight, as the most interesting thing about “Helicopter Story” is not the online reaction to its original title but how the content of the story itself serves as an illustration of a dialectical history of gender in the United States. In Fall's story, gender is partially demystified by acknowledging the eradication of Indigenous cross-gender practices, racially imbricated plasticity, and the fusion of state and medical power that determines and shapes gender. Even so, some mystification remains. Gender is a reified social relation whose origins are an attempt to install binary biological sex. However, this reification does not result in the reinstallation of gender as ineluctable truth. Rather, it provides the opportunity for the expression of utopian desire, as theorized in the queer Marxism of Kevin Floyd or the dialectical literary criticism of Fredric Jameson, both of whom draw heavily from Frankfurt School theorist Herbert Marcuse when proposing that the only way out of reification is through. A proposed subgenre of science fiction, “speculative gender fiction,” is a literary form uniquely suited for exploring both the reification of gender and the utopian desire to escape from it.
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Kisantal, Tamás. "The Practical Past as a Field of Metahistorical Approach. Some Remarks on the Contemporary Situation of Historical Theory." Acta Universitatis Sapientiae, Philologica 11, no. 1 (November 1, 2019): 109–23. http://dx.doi.org/10.2478/ausp-2019-0008.
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Abstract The narrative theory of history that studies historical works from the viewpoint of their narrative, rhetorical devices, and ideological strategies highly emphasized the necessity of renewing historiography. In his early essays, the trend’s founding father, Hayden White, positioned history between art and science or fiction and reality and defined the role of historical theory as a kind of “critical historiography” that is both a criticism of actual historical works and a prescriptive theoretical approach with which the contemporary historical discipline can reform itself. This renewal basically meant a formal reorganization with which the historical works and the historical discipline itself could come closer to literature by using narrative methods and rhetorical devices of recent literary works and films. However, after the 1990s, White and his followers had to face some radical problems that compelled them to rethink the role of recent historiography and their theoretical positions as well. Firstly, the so-called “new” historiography did not actually come into existence, or at least not in a way they suggested. Secondly, new forms of “unofficial” history, from varieties of public history through conspiracy theories to contemporary historical fictions, forced to reconceptualize the task of historical theory and its approach to the social and ideological functions of “official” history. Analysing some recently published works of this trend (above all, Hayden White’s concept of “modernist event” and his distinction between two forms of the past, theoretical and practical), my essay tries to define the situation of historical theory among the forms of contemporary historical experience.
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Scholz, Gunther. "Are text interpretations fictions?" Semiotic studies 2, no. 4 (December 28, 2022): 44–52. http://dx.doi.org/10.18287/2782-2966-2022-2-4-44-52.
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In the 19th century philology became the most important human science following history, and the interpretation methods were refined. However, in the 20th century, fundamental doubts arose about the possibility and the sense of the interpretation procedure, and an increasingly sharp criticism was expressed. It was aimed at the presupposition of a certain, unchangeable meaning of the texts. The diversity of interpretations seemed to confirm that. The interpretations could also be called "fictions". However, this essential doubt about a certainty of the text meaning contradicts the linguistic communication in the society. These critics ignore the fact that there are very different forms of texts and the interpretations in different cultural areas pursue very different objectives. It is reasonable to distinguish between criticism and hermeneutics to regulate the controversy of interpretations: while the latter tries to explore the author's perspective, in criticism the interpreter is allowed to bring his own perspective to bear. These two concepts are usually related in the interpretation process, but can be separated in case of controversy.
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Zitko, Mislav. "Models, fictions and explanations: A study in historical epistemology of economics." Filozofija i drustvo 24, no. 4 (2013): 84–101. http://dx.doi.org/10.2298/fid1304084z.
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This paper examines the standard criticism of the neoclassical economic theory that takes mathematical formalism and the practice of modelling as the most problematic aspect of orthodox economics. The aim of the paper is to explore the epistemic properties of models in science (particularly in economics), and to incorporate the insights from the recent debates in the philosophy of science into the framework of historical epistemology of economics. The main claim of this paper is that history is important for understanding how economic models operate and why have they been accepted as legitimate instruments of inquiry in economic theory. However, since modelling practice clearly is not limited to neoclassical economic theory, the difference between economic orthodoxy and heterodoxy has to be explained in a different way. The paper argues that the theory of fiction can provide an important clue inasmuch as the epistemological and political commitments are a part of the story that underpins the modelling practice in economics.
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Fresán, Rodrigo. "The Sebald Case." boundary 2 47, no. 3 (August 1, 2020): 169–75. http://dx.doi.org/10.1215/01903659-8524479.
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In this essay, the author offers a candid discussion of Sebald’s legacy and the flurry of criticism aimed at securing his place in the literary canon. It engages many of Sebald’s signature themes: memory, amnesia, silence, history, and trauma. The author acknowledges Sebald’s masterful blend of language, photography, and archival material, resulting in a uniquely hybrid narrative form falling somewhere between essay and fiction. The essay is critical of Sebald’s most dedicated admirers—not because of any perceived paucity in Sebald’s work, but rather the shortsightedness of the critical machine that is desperately trying to fossilize Sebald as the end point of modern literature.
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Stachura, Paweł. "Anticipation and Divination of Technological Culture: Dialectic Images of the Internet in Emerson’s Nature." Polish Journal for American Studies, no. 10 (2016) (August 29, 2023): 147–62. http://dx.doi.org/10.7311/pjas.10/2016.09.
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The article presents certain aspects of the Internet (interface design, user behavior, advertising, codes of conduct) as new incarnations of the American pastoralism, defined in terms derived from literary criticism and history of American literature. The rationale of this procedure is provided in terms of “dialectic images,” which are old pieces of imagery that seem to anticipate subsequent technological and social developments. Of particular importance is the set of dialectical images derived from Ralph Waldo Emerson’s writings, and the pastoral descriptions of nature derived from various American poets and fiction writers. Arguably, dialectic images of the Internet offer an opportunity for a better understanding of contemporary development of the Internet, and its possible future.
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Basu, M. "A Matter of Light and Shade: Fiction and Criticism in R. K. Narayan's Malgudi." boundary 2 40, no. 2 (June 1, 2013): 215–38. http://dx.doi.org/10.1215/01903659-2151857.
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Kinkley, Jeffrey C. "The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]." China Quarterly 182 (June 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.
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This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.
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Commissiong, Anand Bertrand. "Where Is the Love? Race, Self-Exile, and a Kind of Reconciliation." Diaspora: A Journal of Transnational Studies 21, no. 1 (March 1, 2021): 27–46. http://dx.doi.org/10.3138/diaspora.21.1.2020-06-18.
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Cultivating solidarity or love for community for those systematically abused by the state and its civic community is a longstanding challenge. While the latter should primarily shoulder responsibility for (re)building trust, this article focuses on the abused self-exile’s agency and possible reasons for return. To understand possible motivations for (re)engagement, this article explores the African American expatriate experience rendered in fiction and criticism. It focuses specifically on William Gardner Smith’s The Stone Face and its portrait of the potentialities of Black love as a vehicle of social resurrection and the exercise of political power.
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Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic." Synopsis: Text Context Media 26, no. 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.
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The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture.
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Bakyt Orazova, Liailia Mingazova, and Zhansaya Zharylgapov. "LITERARY TRANSLATION AS A BASIS FOR DIALOGUE BETWEEN CULTURES." Journal of Namibian Studies : History Politics Culture 33 (March 20, 2023): 5206–18. http://dx.doi.org/10.59670/jns.v33i.3036.
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The new possibilities of global communication and the latest information technology bring the history of literary translation as a scientific discipline within the science of translation to a new level since it infinitely expands the possibilities of searching and comparing historically significant information necessary to build a coherent concept of the evolution of translation activity in the history of human civilization.
The problem of translation of fiction is one of the most important in both linguistics and literary criticism. Disputes about the methods, techniques and principles of translation, about the requirements for translations and the degree of their correspondence to a target text, about the originality of a translated text, as well as the problem of interlingual communication in general do not lose relevance in modern science.
It has been by time that for a correct and profound interpretation of a literary text, a translator must know well the information about the era described in the work and the time in which the author lived; philosophical and socio-historical prerequisites for the creation of the work to involve “out-of-text structures” [Lotman: 1970, p. 65].
In the paper the authors explore the peculiarities of translation of literary texts, consider different points of view on this issue and draw appropriate conclusions. Also, to reveal the specifics of fiction translation, in addition to the theory of proposition, the article deals with the theory of primary and secondary genres by M. M. Bakhtin [Bakhtin: 1986].
The authors hold the opinion that there are no good or bad translations of literary texts in general, no perfect, no canonical ones. No translation fully renders the text of the source material: each translator selects only the essentials in the original and subordinates the secondary and the tertiary to them. What they consider primary or minor is a matter of individual taste.
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Beisenova, Zh S., G. A. Zhakipova, and O. G. Egorova. "SCIENTIFIC AND ARTISTIC KNOWLEDGE IN KAZAKH LITERATURE FOR CHILDREN." Bulletin of Shokan Ualikhanov Kokshetau University. Philological Series 2023, no. 3 (September 20, 2023): 88–94. http://dx.doi.org/10.59102/kufil/2023/iss3pp88-94.
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The article discusses the nature of the scientific and cognitive function of natural history fiction. The authors of the article emphasize that the theme of the relationship between man and nature is still popular in the literary genre. The scientific reasoning emphasizes the emphasis on the mythopoetic basis of Kazakh folklore, in which the scientific, artistic and heuristic beginnings of human exploration of the surrounding world are synthetically presented. The purpose of the study is to present an analytical review of the most representative critical assessment of the natural history of children's literature in Kazakhstan. The illustrative material of the artistic description of local history and natural history is given. In this article, the authors refer to the corpus of historical and modern scientific criticism of children's literature. The practical significance of the problem under study lies in revealing the peculiarities of the development of children's literature in its main genre and style concentra. The authors use a systematic approach that allows them to build the studied material according to a linear-concentric principle, applicable to genre forms of prose and poetry addressed to children. Key words: natural science, animal world, Kazakh children's literature, man and nature, scientific and artistic book.
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Ben-Menahem, Yemima. "Models of Science: Fictions or Idealizations?" Science in Context 2, no. 1 (1988): 163–75. http://dx.doi.org/10.1017/s0269889700000533.
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The ArgumentIdealizations and approximations are an indispensable tool for the scientist. This paper argues that idealizations and approximations are equally indispensable for the philosopher of science. In particular, it is shown that the deductive model of scientific theories is an idealization in precisely the same sense that frictionless motion is an idealization in mechanics. By its very nature, an idealization cannot be criticized as not being absolutely true to the facts, for it need not be. Thus, the usual type of criticism levelled against the deductive model is shown to be irrelevant. The main step in the argument consists in using a logic of approximation to clarify the notions of approximate implication and approximate entailment, which are usually rejected as hopelessly vague. More generally, the conception underlying the paper is that the desiderata of science should be formulated in such a way that complying with them could be a matter of degree, and that pragmatic considerations could be taken into account. This conception is motivated by the wish to introduce some quantitative concepts in the philosophy of science, thereby bringing the philosopher's perspective closer to that of the scientist.
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Dozio, Cristina. "Video as a Canonization Channel for Contemporary Arabic Fiction." Journal of Arabic and Islamic Studies 20 (March 22, 2021): 105–24. http://dx.doi.org/10.5617/jais.8710.
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With the media transition from the paper to the digital, Arab writers’ interaction on the social media and book-related videos have become a central strategy of promotion. Besides book trailers produced by the publishers and the readers, the international literary prizes produce their own videos. One of the most important examples is the International Prize for Arabic Fiction (IPAF) which releases videos with English subtitles for the shortlisted authors every year. Moreover, some writers and journalists have started TV programs or YouTube channels recommending books and interviewing their fellow authors. Engaging with literary history, politics of translation, and media studies, this paper discusses the contribution of videos to the contemporary Arabic novel’s canonization: how do the videos make the canon and its mechanisms visible? Which image of the intellectual do they shape globally and locally? Which linguistic varieties do they adopt?
This paper compares two kinds of videos to encompass the global and local scale, with their respective canonizing institutions and mechanisms. On the one hand, it examines how IPAF videos (2012-2019) promote a very recent canon of novels on the global scale through the representation of space, language, and the Arab intellectual. On the other hand, it looks at two book-related TV programs by the Egyptian writers Bilāl Faḍl and ʿUmar Ṭāhir, selecting three episodes (Faḍl 2011, Faḍl 2018, and Ṭāhir 2018) featuring or devoted to Aḥmad Khālid Tawfīq (1962-2018), a successful author of science-fiction and thrillers. Debating non-canonical writings, these TV programs contribute to redefine the national canon focusing on the reading practices and literary criticism.
Keywords: Canon building, contemporary Arabic literature, literary prizes, IPAF, TV programs, Aḥmad Khālid Tawfīq
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Pažėraitė, Aušra Kristina. "ISTORINIS NIHILIZMAS IR MOKSLINĖ FANTASTIKA: KAI KURIŲ NAUJAUSIŲ PANSLAVIŠKŲ RELIGINIŲ JUDĖJIMŲ RUSIJOJE IR SARMATIZMO JUDĖJIMO LIETUVOJE ATVEJAI*." Religija ir kultūra 7, no. 1-2 (January 1, 2010): 55–82. http://dx.doi.org/10.15388/relig.2010.1.2764.
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Studijoje analizuojami kai kurie alternatyvūs šių dienų religinių / nacionalinių / rasinių tapatybių konstravimo atvejai, bandant atskleisti šiuolaikinės alternatyvios religinės / tautinės / rasinės tapatybės konstravimo mechanizmą. Nustatyta, kad šis mechanizmas veikia per dvi ašis – 1) istorinį nihilizmą (kuris tyrime apibrėžiamas kaip nepasitikėjimas profesionalių istorikų konstruojama istorijos vizija, jos atmetimas) ir 2) fantastiką (pasireiškiančią kaip individuali ar kolektyvinė naujų mitų kūryba), kūrimą fantastinių istorijos vizijų, kurios pateikiamos kaip tikroji istorija, buvusi užmiršta, iškraipyta ir tebeiškraipoma. Konkrečiai buvo analizuojamas vis didesnį populiarumą tiek Rusijoje, tiek už jos ribų, taip pat ir Lietuvoje įgaunantis rodnoverų mokymas ir jo pagrindu kuriamas Sergejaus Strižako „publicistinis“ filmas „Dievų žaidimai“, analizei pasitelkti pagrindinių jų autoritetų – Aleksejaus Trechlebovo ir Aleksandro Chinevičiaus – tekstai ir videomokymai. Kitas analizuotas pavyzdys – žymaus Rusijos matematiko topologo Anatolijaus Fomenko istorinės fantastikos eksperimentai. Studijoje aptariamas ir vieno pagrindinių rodnoverų šaltinių – Veleso knygos – klastojimo klausimas. Siekta atrasti galimas šių rusiškų judėjimų įtakos zonas ir Lietuvoje, taip pat analogiškus bandymus perkonstruoti lietuviškąją tapatybę. Čia, be kol kas pavienių žavėjimosi Trechlebovo ir Chinevičiaus mokymais atvejų, Rusijoje kilusio judėjimo KOB (Концепция Общественной Безопасности) filialo, kuriame pastebima rodnoverų mokymų pėdsakų, analizuotas naujausias (siekiantis keletą metų, bet per pastaruosius porą metų dėl Aivaro Lileikos veiklos įgijęs pagreitį) judėjimas, pasivadinęs Sarmatija. Analizuojant šį judėjimą paaiškėjo esminis skirtumas tarp rodnoverų ir „sarmatų“: pastarieji, nors ir nemažai fantazuoja, ne atmeta istorijos mokslą, bet kritikuoja ir kelia nepasitenkinimą profesionalių istorikų darbais (arba abejingumu), reikalaudami imtis rimtų jų nurodomų šaltinių tyrinėjimų, kad būtų sugrąžinta istorinė atmintis ir lietuviškoji tapatybė, kuri, anot šio judėjimo atstovų, yra sąmoningai menkinama ir klastojama dabartinių „oficiozinių“ lietuvių tautinės tapatybės „ekspertų“.Pagrindiniai žodžiai: rodnoverai, sarmatai, neo-pagonybė, mokslinė fantastika, istorinis nihilizmas.HISTORICAL NIHILISM AND SCIENCE FICTION: CASES OF SOME NEW PANSLAVIC RELIGIOUS MOVEMENTS AND LITHUANIAM MOVEMENT OF SARMATISMAušra Kristina Pažėraitė SummaryIn this study, some alternative new religious / national / racial identity construction cases have been analyzed in order to reveal the mechanism of contemporary alternative religious / ethnic / racial identity construction. It was found that this mechanism works in two axes – 1) historical nihilism (which in this study is defined as rejection of professional history, scientifically constructed vision of national / religious history), and 2) fiction, which manifests itself as an individual or a collective creation of new myths, historical fictions, which are presented as the true history which has been forgotten and distorted by various enemies (Christians, Jews, Europeans, and so on). In the study has been presented an analysis of the movement of growing popularity both in Russia and beyond, including Lithuania, of Rodnovers (slavic-arian neopagans) and created on the basis of teachings of leading authorities of this movement – A. Trehlebov andA. Hinevitch, – “publicistic” movie of Sergei Strizhak “Games of the Gods”. Another example was the famous Russian mathematician topologist Fomenko and his new method of chronology, resulting in other historical fiction. In the study was also discussed question of the fake of one of the main sources of Rodnovers – Book of Veles. In this study, the areas of the influence of this Russian movement in Lithuania and similar efforts toward the new constructions of Lithuanian identity have also been found. Here are single cases of admiration of teachings of Trehlebov and Hinevitch, Lithuanian branch of another Russian movement, CNS (Conception of National Security), in which there are some traces of teachings of Rodnovers, and the most important – the most recent movement of Sarmatia. Analysis of this movement shows a fundamental difference between Rodnovers and “Sarmatians”, that the latter, although utilize many fantasies, but is not dismissing the science of history as such, but causes discontent and criticism of professional historians (or their indifference), requesting them to take seriously the sources they designate to in order to restore the historical memory and Lithuanian identity, which, according to representatives of this movement are deliberately discouraging and falsifying this identity by existing official “experts” of Lithuanian national identity.Keywords: Rodnovers, Sarmatians, neo-pagans, science fiction, historical nihilism.
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Satchwell, Candice, Cath Larkins, Gail Davidge, and Bernie Carter. "Stories as findings in collaborative research: making meaning through fictional writing with disadvantaged young people." Qualitative Research 20, no. 6 (February 21, 2020): 874–91. http://dx.doi.org/10.1177/1468794120904892.
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Working in a participatory research project with young people who are disabled, care-experienced or otherwise disadvantaged, collaborative fiction writing was a core method of hearing and amplifying their voices. We discuss how meanings were made in this iterative process of capturing resonances in the different stages of the research, resulting in the creation of stories filtered through many different participants. Through individual and joint reflections on the complex processes of constructing the 48 short stories, we demonstrate how collective storytelling can address criticisms of fictional research outputs as (in)valid social science, and argue instead that the resulting stories can be considered rigorous and faithful research findings. We suggest that these research outputs preserve and proliferate the meanings of marginalised young people, and challenge the absence or distortion of existing narratives about their lives as experienced by themselves.
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f, f. "Daily life and literature in China's modern times, its recollection and representations: Focusing on ‘Detective Novels’." Society for Chinese Humanities in Korea 85 (December 31, 2023): 355–82. http://dx.doi.org/10.35955/jch.2023.12.85.355.
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Modern China had all the conditions for the development of popular fiction such as detective novels, thanks to the development of various modern media, the expansion of mass education, and urbanization. In addition to the basic principles of presenting a case and resolving it logically, detective novels have secured their own unique territory based on the selection of themes that attract readers' attention, the surprise of unexpected endings, and the scientific knowledge and rational thinking that can convince readers. The popularity of modern detective novels in China is closely related to the daily life of modern society, which dynamically reflects the tastes and hobbies of the times and the specificity of modern thinking and perception. This paper is motivated by the same problem: in order to approach the substance of modern Chinese detective fiction, it is necessary to understand the cultural and literary characteristics of the society in which it is written. Therefore, this paper aims to identify the modern ideas and perceptions that made detective novels possible as a genre of fiction based on a comprehensive set of texts, including detective novels, as well as related novel publicity, event reports, and novel criticism, during this period. Specifically, it explored the daily life and literature of modern China, focusing on the aesthetic phenomena of expectation and fun in detective fiction. Second, it examined detective fiction in terms of the logic of the Enlightenment, represented by scientific knowledge and rational thinking. Third, it explored the possibilities of detective fiction in terms of hobby tastes as a modern reading material. This study, which examines the daily life and literature of modern China, as well as its memory and representation, through the analysis of modern Chinese detective fiction works and extracurricular materials, will provide an opportunity to reestablish the status of detective fiction.
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Okuhata, Yutaka. "Rousseau in a Post-Apocalyptic Context: Angela Carter’s Heroes and Villains and Science Fiction." Humanities 8, no. 3 (August 21, 2019): 142. http://dx.doi.org/10.3390/h8030142.
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The present paper discusses Angela Carter’s Heroes and Villains (1969), which parodies both “post-apocalyptic” novels in the Cold War era and Jean-Jacques Rousseau’s theory on civilisation. By analysing this novel in comparison, not only to Rousseau’s On the Origin of Inequality (1755), but also to the works of various science fiction writers in the 1950s and 1960s, the paper aims to examine Carter’s reinterpretation of Rousseau in a post-apocalyptic context. As I will argue, Heroes and Villains criticises Rousseau from a feminist point of view to not only represent the dystopian society as full of inequality and violence, but also to show that human beings, having forgotten the nuclear war as their great “sin” in the past, can no longer create a bright future. Observing the underlying motifs in the novel, the paper will reveal how Carter attempts to portray a world where human history has totally ended, or where people cannot make “history” in spite of the fact that they biologically survived the holocaust. From this perspective, I will clarify the way in which Carter reinterprets Rousseau’s notion of “fallen” civilisation in the new context as a critique of the nuclear issues in the late twentieth century.
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Togola, Adama. "Du polar d’Afrique francophone et des stratégies pour contourner la marge instituée." International Journal of Francophone Studies 24, no. 3 (December 1, 2021): 207–19. http://dx.doi.org/10.1386/ijfs_00038_1.
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This study attempts to reassess the critical discourse on the Francophone African detective fiction in order to show how the dynamics of genres and discourse in the crime novel participates in a reflection on writing and the boundaries between so-called popular literature and the so-called ‘literate’. It is about analysing the workaround strategies implemented by writers to lift the crime novel from the sidelines in which it has long been placed. Born in the nineteenth century with modernity, the African detective fiction is today one of the axes of development of African literature. It competes, by its dynamism and its originality, with the canonical novel. The resumption of thematic recurrences (immigration, social and political criticism) shows that it contributes to a broad representation of social semiosis. It now claims a discursive space of which the dominant field is obliged to recognize the relevance.
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Fuehrer, Bernhard. "The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]." China Quarterly 178 (June 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.
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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.
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Starr, Chloë. "C. T. Hsia on Chinese Literature. By C. T. Hsia. [New York: Columbia University Press, 2004. 544 pp. £26.50. ISBN 0-231-12990-4.]." China Quarterly 179 (September 2004): 825–27. http://dx.doi.org/10.1017/s0305741004300603.
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First impressions matter when buying a book; they are less important when chasing up a reference in a library or following a reading list to a book shop. C.T. Hsia on Chinese Literature is a serious tome which looks like a biography – a bust portrait of the octogenarian author smiles out of a stark black and white dust jacket, and the playful title leaves ambiguous whether it is C. T. Hsia or his thoughts we are buying. One of the delights of reputation and seniority is the publication of a lifetime's collected essays. This produces a gift to the reader which takes its rightful place as a history of criticism as well as literary criticism, gathering 16 essays published between 1962 (in The China Quarterly) and 1990, a volume for celebration. As undergraduates of modern Chinese literature, we used to groan when C. T. Hsia appeared on reading lists, as much because the works containing the essays were dog-eared, smelly old volumes, as for their polemicism. Publication in a smart, single volume presents easy access and allows the essays to be contemplated for their merit and range. Since C. T. Hsia has been considered, as Patrick Hanan writes, “without question the most influential critic of Chinese fiction since the 1960s,” his essays remain important reading matter.
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Amigoni, David. "Victoriana: Histories, Fictions, Criticism, by Cora Kaplan." Victorian Studies 51, no. 1 (October 2008): 141–43. http://dx.doi.org/10.2979/vic.2008.51.1.141.
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Khramov, Alexander. "Did God create fossils? Notes on the history of an idea." St. Tikhons' University Review 104 (December 29, 2022): 29–45. http://dx.doi.org/10.15382/sturi2022104.29-45.
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The subject of the paper is prochronism, e.g. the teaching which says that the world was created with the appearance of old age. It is shown that the sources of prochronism could be traced to the medieval doctrine of double truth and philosophy of Descartes, who suggested that cosmological theories on the origin of the Universe are purely conditional, while in fact the world was instantly created complete and mature. The idea of apparent, but non-existent past gained much credence during the first half of the 19th century, when paleontological and geological discoveries raised a question on how to square the age of the Earth and the life on it with the six days of Genesis. The hypothesis of prochronism was most fully developed in «Omphalos: an attempt to untie the geological knot» (1857), the book by the English naturalist P. Gosse. During the Darwinian time the interest in this doctrine was shown not only by Christian thinkers, but also by secular philosophers and science fiction writers. Elements of prochronism were also present in the writings of Scriptural geologists in the 19th century and their successors, the young earth creationists in the 20th century. The main objections against prochronism are critically considered. According to the most popular of them, if God had made the world appear older that it is, He thus would have deceived people. But from the point of view of prochronism, the creation of traces of never existed past was necessitated by the logic of causality, which required God to actualize all the consequences of historical epochs skipped by Him. The link between prochronism and the problem of pre-human sufferings is outlined. The conclusion is made that this doctrine, despite being counter-intuitive and rather notorious, is intellectually consistent and immune to the criticism.
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Naumov, Aleksandr V. "From Criticism to Practice: Music in the Early Literary Heritage of V.I. Nemirovich-Danchenko." Observatory of Culture 19, no. 2 (April 13, 2022): 182–92. http://dx.doi.org/10.25281/2072-3156-2022-19-2-182-192.
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The article examines the relationship between the literary work of V.I. Nemirovich-Danchenko that preceded the opening of the Moscow Art Theater, and his directorial activity. For him, journalism, fiction and drama formed a unity that had a serious impact on his pedagogical and staging practice. The main issues related to the topic of the work have been repeatedly raised by researchers of theater and literature, but have not yet come to the attention of musicologists, which determines the main parameter of the study’s novelty. In this context, the article aims at pinpointing the actual musical textual details, and its main methodology is based on the interpretation of statements and their comparison with the factual theater history. The article attempts to review the “favorite repertoire” of V.I. Nemirovich-Danchenko as a writer — the musical works mentioned in his novels, stories and plays. There is also identified the “projections” of such sympathies on the design of performances. The article reveals fundamental differences in V.I. Nemirovich-Danchenko’s attitude to vocal and instrumental music, the special role of opera in his perception of the world. There is noted the tendency to attach special semantic and moral-ethical meaning to sound components, as well as the affordance, opened in dramas of the late 1890s, of maximum avoidance of noise elements for the sake of relief identification of a word. The article ends with an attempt to substantiate from a musical standpoint the failure of the drama “In Dreams” at its first and only staging at the Moscow Art Theater (1901). The conclusion contains a number of findings characterizing the musicality of V.I. Nemirovich-Danchenko in 1898, at the time of the opening of his theater. There are partially highlighted the stages of his evolution not mentioned before, which led the director to experiments in the genre of tragedy at the turn of the 1910s and 1920s, the foundation of his own opera studio and the revision of literary positions that remained relevant for the last decades of his life and work.
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Di Stefano, Eugenio. "The Rules of the Game in Carlos Reygadas’s “Serenghetti”." Praktyka Teoretyczna, no. 4(50) (March 28, 2024): 75–108. http://dx.doi.org/10.19195/prt.2023.4.4.
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At first glance, Mexican filmmaker Carlos Reygadas’ Serenghetti (2009) appears to be a documentary, capturing nothing more than an amateur women’s soccer match filmed in Santo Domingo Ocotitlán (Morelos, Mexico). Commentary on the film has focused on social issues such as urban development, anthropocentrism, and sport as spectacle. This essay, however, argues that Serenghetti is much more interested in examining the aesthetic dimension of cinema, or what Reygadas calls the film’s “fiction.” In some respects, Serenghetti recalls Douglas Gordon and Philippe Parreno’s Zidane: A 21st Century Portrait (2006), as both movies record complete soccer matches. But where Gordon and Parreno’s film engages, as Michael Fried contends, with the issue of absorption in contemporary art, this essay suggests that Reygadas’s film is concerned with contesting an anti-representational account of cinema, particularly the question of time, which has been central to how slow cinema scholarship has understood his work. Indeed, since his Cannes award-winning film Japón (2001), Reygadas’ films have been labeled as slow cinema—films that are understood less as a representation of time than as what Thiago de Luca calls “duration itself.” This essay proposes that through the concept of the soccer game, Serenghetti not only asserts itself as fiction but also, in doing so, provides a reading of cinematic time that challenges many political and aesthetic fantasies endorsed by contemporary cultural criticism.
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Pagone, Novia. "Almudena Grandes and the "Problem of Spain"." Romance Notes 63, no. 2 (2023): 463–73. http://dx.doi.org/10.1353/rmc.2023.a919736.
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Abstract: From 2008 until her untimely death in 2021, Almudena Grandes wrote a weekly column in El País where she often addressed, and lamented, the state of Spanish democracy and the need to reconcile Spain's history for a chance at a better future, a topic familiar to readers of her novels. Although her fiction writing on these themes is well studied, her nonfiction has garnered less attention. The 2019 publication of a selection of these columns, La herida perpetua , spanning the decade marked by the 2008 economic crisis through the 2018 resurgence of the far right, provides us an opportunity to look more closely at the impact and importance of Grandes's nonfiction. Informed by recent scholarship on the state of Spanish democracy and criticism of traditional narratives of the transition to democracy (1975–1982), I argue that these columns represent a public call to action with the goal of (re)building a society that values open debate and fosters an active citizenry, one with the resilience to exercise their rights daily to hold accountable corrupt politicians. Collecting a selection of Grandes's weekly writing into one volume allows readers to contemplate the political events of an important period in Spain's democracy and to engage the legacies of the past while suggesting possibilities for the future, a dialogical exchange that defines democracy and is necessary for its survival.
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Romanenko, Ksenia. "The Transformation of the Canon, the Struggle With the Canon, the Re-creation of the Canon as the Basis of Fanfiction Culture." Philosophy. Journal of the Higher School of Economics VI, no. 2 (March 31, 2022): 168–88. http://dx.doi.org/10.17323/2587-8719-2022-2-168-188.
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To understand the transformation of canons and the struggle with them, we may productively explore fanfiction, a particular reader's, viewer's, and author's practice, within non-professional and non-commercial texts based on the plots and heroes of other people's works. Fanfiction is a paradoxical phenomenon: it is wholly based on a specific canon — collectively selected film and literary texts, moves by worship, emotional attachment, and attention, while initially working as a criticism of the canons and changing the canons. Canon is not only a research concept but also an intra-cultural designation of the original work as the basis of a fan text. Fans also create their canon — “fanon”, a set of characteristic plot solutions and ways to change characters established in fanfiction. The article examines the intersections of the cultural canon of high and popular culture, the national literary canon, and the canon and the fanon in the understanding of fans with different types of attitudes to the canons — disintegration, transformation, struggle, re-creation. The argument is based on a critical analysis of the research literature with a focus on metaphors that help authors describe the relationship of fiction writers with the canons and on the experience of empirical research about fanfiction devoted to samples of popular culture (“Harry Potter” franchise, “Doctor Who” series, “Sherlock” series, and others), fanfiction and sequels to novels by Jane Austen, the British writer of the 19th century, and fanfiction devoted to Russian classical literature.
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Prus, Robert. "Poetic Expression and Human Enacted Realities: Plato and Aristotle Engage Pragmatist Motifs in Greek Fictional Representations." Qualitative Sociology Review 5, no. 1 (April 30, 2009): 3–27. http://dx.doi.org/10.18778/1733-8077.5.1.01.
Full textAbstract:
Poetic expressions may seem somewhat removed from a pragmatist social science, but the history of the development of Western civilization is such that the (knowingly) fictionalized renderings of human life-worlds that were developed in the classical Greek era (c700-300BCE) appear to have contributed consequentially to a scholarly emphasis on the ways in which people engage the world. Clearly, poetic writings constitute but one aspect of early Greek thought and are best appreciated within the context of other developments in that era, most notably those taking shape in the realms of philosophy, religion, rhetoric, politics, history, and education. These poetic materials (a) attest to views of the human condition that are central to a pragmatist philosophy (and social science) and (b) represent the foundational basis for subsequent developments in literary criticism (including theory and methods pertaining to the representation of human enacted realities in dramaturgical presentations). Thus, while not reducing social theory to poetic representation, this statement considers the relevance of early Greek poetics for the development of social theory pertaining to humanly enacted realities.
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Tanaseichuk, A. B., and O. Yu Osmukhina. "Problem of Periodization and Some Aspects of the Late Work of F. Bret Hart." Nauchnyi dialog, no. 2 (March 3, 2021): 244–58. http://dx.doi.org/10.24224/2227-1295-2021-2-244-258.
Full textAbstract:
The article is devoted to the discussion of the problem of periodization and the study of the features of the late stage of the work of the outstanding American prose writer Francis Bret Hart (1836—1902). The relevance of the article is due to the need to build a coherent and consistent history of the development of American literature at the turn of the 19th and 20th centuries, an important part of which is the writer’s prose heritage. The authors comprehend Western (J. Stewart, G. Scharnhorst, A. Nissen and others) and domestic (A. V. Vaschenko, L. P. Grossman, P. E. Schegolev, A. I. Startsev, V. A. Libman, E. Yu. Rogonova, A. B. Tanaseichuk) studies on biography and various aspects of the prose writer. The scientific novelty of the work lies in the fact that for the first time in American studies a gap in the reception of F. Bret Hart's work was filled (the absence of clear criteria for periodization); the tradition of a disdainful attitude to the European period of his work, established in American literary criticism, is refuted, in particular, it is proved that in the stories and novels of the 1880s and 1890s Bret Hart boldly goes beyond the usual themes and images: the “Californian theme”, traditional for his early prose, takes on a new dimension — in the aspect of understanding national and gender psychology (“Maruga”); amorous and melodramatic collisions are combined with an appeal to science fiction (“The Secret of the Hacienda”).
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Lethbridge, Robert. "Zola and the Science of Painting." Nottingham French Studies 60, no. 3 (December 2021): 295–306. http://dx.doi.org/10.3366/nfs.2021.0326.
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The article explores a paradox in Zola's writing: the resistance to advances in scientific theory by the author of Du Progrès dans les sciences et dans la poésie (1864), as the first of many such assimilations of scientific progress and artistic trends. This is exemplified by the challenge posed to his Naturalist aesthetic by Michel-Eugène Chevreul's seminal De la loi du contraste simultané des couleurs (1839), popularised during the period of Zola's most sustained art criticism. This radical revision of the science of optics is increasingly accommodated in contemporary painting, from 1880 onwards, at the very moment of Zola's disenchantment with Impressionism. Although L'Œuvre, his novel of 1886, is set in the Second Empire (consistent with the historical limits of Les Rougon-Macquart), Zola inserts into his narrative the theory of complementary colours, the awkward anachronism notwithstanding, to explain his fictional painter's creative impotence. In relation to the latter, the article looks in detail at the genesis and textual details of a key passage in the novel in which Zola's irony at the expense of Chevreul's theories is almost explicit. At least as telling is his response to unsolicited advice about them: ‘J’ai plus de confiance dans l'observation directe que dans la théorie’. One could hardly conjure up a more succinct summary of Zola's unreconstructed approach to the science of painting which simultaneously testifies to his own principles of representation.
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Markov, Alexander. "Formation of a Philosophical Canon in Religious-idealistic Samizdat." Philosophy. Journal of the Higher School of Economics VI, no. 1 (March 31, 2022): 89–116. http://dx.doi.org/10.17323/2587-8719-2022-1-89-116.
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As a product of hobby groups, religious and philosophical samizdat was the practice of an entire cycle of intellectual content production: from the search for sources to their adaptation and pragmatization. At the same time, pragmatization determined the future projects and the organization of circles as communities. A wary attitude towards the transformations of the world demanded among supporters of religious philosophy reflection on the life-building and social potential of the community. This cautious attitude determined the composition of the canon, the features of which are determined by the specifics of intellectual production in these circles. Thus, Berdyaev was accepted into the canon as the inventor of the aphoristic mode of thought production. Sergei Bulgakov was an extra-Soviet non-conformist thinker whose sophiology corresponds to social constructivism in contemporary scholarship and, at the same time, allows the meta criticism of church habitus. The canon was built as actual: the works of religious philosophers of the twentieth century were perceived as part of current philosophy, not because of a lack of newer sources, but because of the understanding of their work as avant-garde and their social program as not yet put into circulation, and therefore belonging to the future projects. The expansion of the canon could occur only if the philosophical fiction, from Dostoevsky to Solzhenitsyn, was accepted into the canon, which made it possible to concretize the intellectual phenomena of the 19th century. Thus, inclusion in the canon meant recognition, not so much of the author's philosophical merits as to his or her ability for a polemical gesture but also for grounding the circles' autonomy. The disintegration of this circle organization of the “second culture” coincided with the ontologization of the problematics of Russian idealistic philosophy, which (ontologization) became normative in Russian higher education.