Relevant bibliographies by topics / Space Penguins (Fictitious characters)

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Academic literature on the topic 'Space Penguins (Fictitious characters)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Space Penguins (Fictitious characters)"

1

Paravano, Cristina. "The Space of Identity and the Identity of Space in The City Wit by Richard Brome." Sederi, no. 21 (2011): 71–90. http://dx.doi.org/10.34136/sederi.2011.4.

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My paper examines The City Wit (1629-1632), a city comedy by Richard Brome revolving around the unscrupulous trade world, where all the characters aim at social recognition, even trampling on feelings and moral values. My objective is to investigate the play as one of the earlier examples of strategic use of space in Brome’s dramatic production. Firstly, I will consider the function of space in relation to the identity of the single characters. Secondly, I will show how space can be manipulated for the re-fashioning of a new identity, as in the case of Jeremy, a male servant disguised as a wid
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2

XU, XUE-FEN, and HONG-YI FAN. "THERMO MINIMUM UNCERTAINTY STATE FOR FERMIONIC TFD THEORY." Modern Physics Letters A 22, no. 36 (2007): 2757–62. http://dx.doi.org/10.1142/s0217732307022955.

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By analyzing the characters of Thermo Field Dynamics (TFD) that every annihilation operator f acting on real Hilbert space has an image [Formula: see text] acting on fictitious space we should choose [Formula: see text] and [Formula: see text], or their linear combination [Formula: see text], and [Formula: see text] for measuring Fermi field's fluctuation at finite temperature. As a consequence, the corresponding minimum uncertainty states are derived, which resembles the form of fermionic squeezed state. This work is the fermionic counterpart of Ref. 8 in which bosonic TFD's minimum uncertain
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3

Oktaviani, Danissa Dyah. "Konsep Fantasi dalam Film." REKAM 15, no. 2 (2019): 125–36. http://dx.doi.org/10.24821/rekam.v15i2.3356.

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Fantasy films were born from the development of fiction films that have shown existence since the beginning of its history. Fantasy films have their own charm because they can penetrate time and space compared to other genres. Fiction films develop from their creators both in terms of story and cinematography because fiction films are at the center of the poles: real and abstract. Its greatest strength lies in its ability to integrate and combine with other genres without exception and can be broadly developed unlimitedly. That is because fantasy films contain elements with different character
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4

Latham, Monica. "Thieving Facts and Reconstructing Katherine Mansfield’s Life in Janice Kulyk Keefer’s Thieves." European Journal of Life Writing 3 (October 14, 2014): 103–20. http://dx.doi.org/10.5463/ejlw.3.83.

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The aim of this article is to examine how the biographical material that Janice Kulyk Keefer “steals” from Mansfield’s life is used to re-create a “quasi-real” life in a novel which absorbs reality, digests it, and offers an oxymoronic, semi-fictitious product: a biofiction. Keefer selected biographèmes or kernels of truth on which her fictitious details and characters could be grafted: following Mansfield’s physical, emotional and intellectual trail was an imperative part of Keefer’s research plan, as essential as close reading of the modernist author’s letters and journals. Besides seamlessl
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Bidaud, Samuel. "Proust et Hergé : de quelques points communs entre À la recherche du temps perdu et Les Aventures de Tintin." Interlitteraria 23, no. 1 (2018): 173–88. http://dx.doi.org/10.12697/il.2018.23.1.18.

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Proust and Hergé: on some similarities between À la Recherche du temps perdu and Les Aventures de Tintin. Part I. Marcel Proust and Hergé seem to have nothing in common. Their works are indeed very different: they do not belong to the same genre, nor treat the same themes or have the same public. What parallel could be established between À la Recherche du temps perdu (In Search of Lost Time), which revolutionized the genre of the novel, and Les Aventures de Tintin (The Adventures of Tintin), a series of comic albums apparently intended only for children? A closer study reveals however that Pr
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6

Tatár, Jozef. "Beletristická rekonštrukcia portrétu Štefana Krčméryho z posledných rokov života (Anton Baláž, Povedz slovo čisté, 2017)." Conversatoria Litteraria 17, no. XVII (2023): 149–62. http://dx.doi.org/10.34739/clit.2023.17.11.

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The novel’s portrayal of an unknown part of the life of Štefan Krčméry (1892 – 1955), his stay in a psychiatric asylum (1949–1955), belongs to the category of rare topics in contemporary Slovak fiction. In the novel Povedz slovo čisté, Anton Baláž gradually uncovers Krčméry’s complex, dramatic internal life through depictions of the onset and overcoming of apathetic states in the narrative, which also contains a series of diary entries by Júlia Orlovská, Krčméry’s attending physician. These entries record his lasting commitment to such values as the nation, religious faith, creative freedom, a
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7

Diz Villanueva, Alba. "Cărtărescu vs. Cărtărescu: el imaginario literario de Melancolia, cambio y pervivencia." Swedish Journal of Romanian Studies 7, no. 2 (2024): 57–82. http://dx.doi.org/10.35824/sjrs.v7i2.25843.

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The aim of this paper is to analyze the differences and similarities between the latest volume of stories published by the Romanian writer Mircea Cărtărescu (Melancolia, 2019, Bucharest, Humanitas) and his previous literary production. Although Melancolia has been associated with Nostalgia and indeed exhibits many parallels with the first volume of short novels published by Cartarescu, the truth is that the 2019 volume refers to the literary universe created from other texts as well. By comparing and contrasting Melancolia with some of his main works, from novels such as the three volumes of t
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8

Shum, Olga Yu. "Expressive Features of Author Subjectivity in the Literary Ego-Text (Roman Senchin’s What Do You Want?)." Tekst. Kniga. Knigoizdanie, no. 26 (2021): 23–39. http://dx.doi.org/10.17223/23062061/26/2.

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The modern literary process indicates the presence of a large number of fiction with documentary subcurrent: facts from the author’s biography are a very slight hyperbolization. An example of such work would be the novel What Do You Want? (2013) by a contemporary Russian writer Roman Senchin, which became the subject of consideration in this article. The synthesis of auto-documentary and literary principles in the story organizes self-narration with unsteady boundaries between the real (“factual”) and the fictional (“fictitious”). The specificity of the correlation of the factual and the ficti
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9

Saraskina, Liudmila. "Truths and Lies in a TV Series About “Dostoevsky Beyond the Textbook”." Неизвестный Достоевский 7, no. 4 (2020): 70–105. http://dx.doi.org/10.15393/j10.art.2020.5061.

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The paper offers a detailed analysis of Dostoevsky, a historical and biographical feature TV serial (in eight episodes), produced in 2011, when the writer’s 190th anniversary was celebrated. The film was directed by V. I. Khotinenko, the script was written by E. Ya. Volodarsky. The authors of the series claimed that their objective was to create an image of “Dostoevsky beyond the textbook”, wholly (or largely) unknown to today’s audience. But the authors did not explain what they meant by “Dostoevsky beyond the textbook”, nor, for that matter, by the “textbook” version. Professional expertise
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10

Малиновский, Артур. "Гетеротопия Г. Ф. Квитки-Основьяненко «Вояжеры» в контексте теории пространственного поворота". Studia Slavica Academiae Scientiarum Hungaricae 66, № 2 (2023): 287–99. http://dx.doi.org/10.1556/060.2022.00039.

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Статья посвящена не исследованной в современном литературоведении повести Г. Ф. Квитки- Основьяненко, интересной с точки зрения жанровых ресурсов, их сложного преломления в перспек-тиве художественного пространства. Рассмотрена пародия на имперское культурное пространство, которое множится, разрастается путем экспансии, трансгрессии на территорию чужого. Кумуляция фиктивных хронотопов с перенесенными на свою почву чужими идеологиями, воображаемой, отор-ванной от реальности, фальшивой европеизацией оборачивается опосредованной формой антико-лониальной критики. Мимикрия, бездумное копирование ст
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Books on the topic "Space Penguins (Fictitious characters)"

1

Krulik, Nancy E. Space jam. Scholastic Inc., 1996.

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2

Leo, Benvenuti, Rudnick Steve, Harris Timothy, and Weingrod Herschel, eds. Space jam: A novelization. Scholastic, Inc., 1996.

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3

Dadey, Debbie. Mrs. Jeepers in outer space. Scholastic Inc., 1999.

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4

Dixon, Franklin W. Trouble in Warp Space. Thorndike Press, 2002.

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5

Lukas, Catherine. Say "please!": A book about manners. Simon Spotlight/Nick Jr., 2006.

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6

Warner, Gertrude Chandler. The Outer Space Mystery. A. Whitman, 1997.

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7

Brown, Jeff. Stanley in space. HarperTrophy, 2003.

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8

Ciencin, Scott. Doom's day. Scholastic Inc., 2006.

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9

Inc, Scholastic, ed. The case of the U.S. Space Camp mission: A novelization. Scholastic, 1996.

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10

Friedman, Michael Jan. Planet X: Star Trek: The Next Generation/X-Men. Pocket Books, 1998.

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Book chapters on the topic "Space Penguins (Fictitious characters)"

1

Kamler, Erin M. "Articulating Artist Narratives." In Rewriting the Victim. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190840099.003.0014.

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This chapter explores the narratives of the artists who participated in the “Land of Smiles’ production, and the transformation undergone by these artists as the “real” and “fictitious” worlds collided. Through inhabiting a space between characters and the actual people those characters are meant to symbolically represent, the artists experienced a state of “liminality” as well as its complementary state, “rupture,” in which one’s sense of certainty about their place in the world is disrupted. I discuss six key narratives that emerged among the “Land of Smiles” artists, showing how the spaces
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