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Journal articles on the topic 'Supernatural in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Šešlak, Mirko Ž. "PHILIP K. DICK’S UBIK: A NATURAL POSSIBLE WORLD OF SCIENCE FICTION OR A SUPERNATURAL POSSIBLE WORLD OF FANTASY?" Lipar XXIV, no. 82 (2023): 107–21. http://dx.doi.org/10.46793/lipar82.107s.

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The article aims to explore whether the text of Philip K. Dick’s Ubik constructs a natural (physi- cally possible) or a supernatural (physically impossible) fictional world. According to Darko Suvin, one of the fundamental traits of science fiction is that its texts construct natural, physically possible fictional worlds. Readers of science fiction have often complained of Ubik, regarding it a confusing work, riddled with supernatural impurities and a lack of precise explanations. The betrayal of these expectations often casts doubt on whether this novel is science-fictional or a work of fantasy. If we aim to determine whether the fictional world of Ubik belongs to the possible worlds of science fiction, the theoretical framework for such a task can be found in Lubomir Doležel’s possible worlds theory. To do this, we must analyze the alethic constraints of the given fictional world, for those narrative modalities govern the formation of the fic- tional world’s physical laws and determine what is possible, impossible and necessary within its boundaries. If our analysis shows that the alethic constraints present in Ubik are analogous to the physical laws of the real world, we will prove that this fictional world is physically pos- sible and therefore possesses one of the fundamental traits of science fiction, naturalness. If our analysis shows otherwise, the fictional world of Ubik can be relegated to the supernatural, physically impossible worlds of fantasy.

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Johnston, Sarah Iles. "The Religious Affordance of Supernatural Horror Fiction." Numen 70, no. 2-3 (March 10, 2023): 113–37. http://dx.doi.org/10.1163/15685276-20231688.

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Abstract This article argues that some supernatural horror fiction has religious affordance – that is, provides ideas that readers can draw upon to build their own religious outlook. In this regard, supernatural horror fiction is an important but previously overlooked part of lived religion. It also demonstrates that the afforded ideas are entwined with the supernatural experiences that the stories describe and looks at rhetorical tropes that dispose readers to believe in those experiences (at least while reading the story), and by extension to entertain the credibility of the religious ideas, as well. It demonstrates the important role that ambiguity, a central feature of supernatural horror fiction since the 1830s, plays in persuading readers to believe in the supernatural experiences and the religious ideas. Two case studies are used to make these arguments: M. R. James’s “Oh, Whistle, and I’ll Come to You, My Lad” (1904) and Stephen King’s Revival (2014).

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3

Majidova, Ilaha Adil. "The conceptual interpretation of S. King`s literary heritage." SCIENTIFIC WORK 62, no. 01 (February 8, 2021): 159–61. http://dx.doi.org/10.36719/2663-4619/62/159-161.

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S.King is a modern American writer of supernatural, horror fiction, science fiction and fantasy. His works are powerful because he integrates his life experiences and observations into idiosyncratic stories. He uses a free style of writing. Generally By the help of supernatural beings, vampire, demon, insubstantial events he mystifies and shocks readers, confuses their minds. The writer’s psycho-emotional situation, inner world rebound his works. This article is devoted to the conceptual interpretation of S.King’s creativity. In his works he tries to show the depth of his imagination. Key words: modern American literature, fantasy, horror fiction, psycho-emotional creativity, mystical elements

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4

Gentile, Kathy Justice. "Sublime Drag: Supernatural Masculinity in Gothic Fiction." Gothic Studies 11, no. 1 (May 2009): 16–31. http://dx.doi.org/10.7227/gs.11.1.4.

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5

Walker, Pierre A. "Book review: The Supernatural and English Fiction." Henry James Review 18, no. 2 (1997): 204–6. http://dx.doi.org/10.1353/hjr.1997.0014.

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6

Zalomkina, Galina V. "GOTHIC COMPONENTS OF SCIENCE FICTION’S GENEALOGY." VESTNIK IKBFU PHILOLOGY PEDAGOGY AND PSYCHOLOGY, no. 2 (2023): 43–59. http://dx.doi.org/10.5922/pikbfu-2023-2-5.

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Science fiction can be defined as the literature about cognizable unusual phenomena which represents hypothetical scientific, technical and social products of their rational exploration. Before the genre emerged, the subject of exploring the unusual was developed mainly in the field of mythological fiction, which became the basic element of Gothic literature. In Gothic, the features of science fiction began to form: in M. Shelley’s novel “Frankenstein, or the Modern Prometheus”, the motives of the supernatural are rationalized through the use of scientific and technical issues. The goal of the presented research is detecting the nature, methods and specifics of the transformations of the Gothic plot that led to the formation of the science fiction genre. It is achieved by the use of comparative, historical-genetic, hermeneutic, mythopoetic methods. Gothic literature reacted to the growing interest in scientific and technological progress by attempting to rationalize the elements of the supernatural plot: demons, werewolves, the living dead could be presented either as a result of experimentation or as an object of scientific exploration. In Russian literature, V. F. Odoevsky made a move from Gothic poetics towards long-term social, scientific and technological forecasting in a fiction text. The role of Gothic in the genesis of science fiction is clearly visible in the artistic world of H. P. Lovecraft who elaborated supernatural horror in the form of nonhuman manifestations of the indifferent Universe. The protagonist scientist is involved into the knowledge of it and, therefore, is put in the situation of a mythological cultural hero, reinterpreted in the coordinates of the plot of scientific research.

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7

Dhakal, Lekha Nath. "Fantasy in Literature: A Symbiotic Relation to the Real." Pravaha 26, no. 1 (June 1, 2020): 119–23. http://dx.doi.org/10.3126/pravaha.v26i1.41866.

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This article attempts to explore the use of fantasy in literature and how it has attained the position of a literary category in the twentieth century. This work also concerns how as the form literature, it functions between wonderful and imitative to combine the elements of both. The article reveals that wonderful represents supernatural atmospheres and events. The story-telling is unrealistic which represents impossibility as it creates a wonderland. In the imitative or the realistic mode, the narrative imitates external reality. In it, the characters and situations are ordinary and real. Fantasy in literature does not escape the reality. It occurs in an interdependent relation to the real. In other words, the fantastic cannot exist independently of the real world that limits it. The use of fantastic mode in literature interrupts the conventional artistic representation and reproduction of perceivable reality. It embodies the reality and transgresses the standards of literary forming. It normally includes a variety of fictional works which use the supernatural and actually natural as well. The developers of fantasy fiction are fairy tales, science fiction about future wars and future world. A major instinct of fantastic fiction is the violence threatened by capitalist violation of personality that is spreading universally.

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8

Vaage, Margrethe Bruun. "On Punishment and Why We Enjoy It in Fiction." Poetics Today 40, no. 3 (September 1, 2019): 543–57. http://dx.doi.org/10.1215/03335372-7558136.

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The article proposes an explanation for why spectators may enjoy excessive punishment when watching fiction, even in Scandinavia where harsh punishment is roundly condemned. Excessive punishment is typically carried out by a vigilante avenger, and in fiction this character is often a fantastic character (e.g., not realistic, taking on superhuman and/or supernatural characteristics). We allow ourselves to enjoy punishment more readily when the character who punishes is clearly fictional. In The Girl with the Dragon Tattoo and Let the Right One In, fantastic elements seep into an otherwise realistic setting and allow the spectator to fully enjoy the main characters’ vigilante revenge. The theory of fictional reliefs posited here holds that this mixture of modes facilitates one of two paths to moral judgment.

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9

Schor, Esther H. "The haunted interpreter in Margaret Oliphant's supernatural fiction." Women's Studies 22, no. 3 (January 1993): 371–88. http://dx.doi.org/10.1080/00497878.1993.9978987.

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10

Donnarieix, Anne-Sophie. "Les chamanes contemporains – figures d’instabilité." Quêtes littéraires, no. 6 (December 30, 2016): 187–96. http://dx.doi.org/10.31743/ql.229.

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Antoine Volodine and Christian Garcin both make a distinctive use of shamanism in fictional novels. By multiplying shaman characters and intertwining the shamanistic principles and the narrative, they develop a poetic of instability noticeable through various hybridization processes notably strengthened by the intrusion of supernatural elements. The analysis of three motives in which this game of unstable balance is particularly mirrored – identity, History and fiction – shall turn our attention to the role of shamanism as a vector of fictional dynamism.

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De la Varga Llamazares, Raquel. "Margree, Victoria (2019): British Women’s Short Supernatural Fiction, 1860-1930. Our Own Ghostliness, Palgrave Macmillan. ISBN 978-3-030-27141-1." Brumal. Revista de investigación sobre lo Fantástico 9, no. 1 (June 10, 2021): 111–14. http://dx.doi.org/10.5565/rev/brumal.783.

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12

GULANOWSKI, PIOTR. "Robert Ervin Howard’s Vision of the Supernatural in Beyond the Black River." Journal of Education Culture and Society 4, no. 2 (January 10, 2020): 340–49. http://dx.doi.org/10.15503/jecs20132.340.349.

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The plot and the presented world of Robert Ervin Howard’s Beyond the Black River are representative of sword and sorcery, a subgenre of fantasy fiction that Howard is claimed to have pioneered. It has been proposed that the worlds in fantasy fiction are coherently organised, natural, and material. Nevertheless, supernatural elements that are not consis-tent with the structure of the universe are present. The struggle between the structured worlds and the chaotic supernatural that is resolved by an intervention of a barbarian hero constitute the essence of the sword and sorcery subgenre. These elements can also be found in Beyond the Black River by Howard, who employs contrastive images to present the super-natural.

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13

Liggins, Emma. "British women’s supernatural fiction, 1860–1930: our own ghostliness." Women's Writing 28, no. 4 (October 2, 2021): 607–9. http://dx.doi.org/10.1080/09699082.2021.1985297.

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14

Schlieter, Jens. "Narrative and Belief: The Religious Affordance of Supernatural Fiction." Journal of Contemporary Religion 35, no. 1 (January 2, 2020): 117–19. http://dx.doi.org/10.1080/13537903.2020.1697516.

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15

Jaquet, Alison. "THE DISTURBED DOMESTIC: SUPERNATURAL SPACES IN ELLEN WOOD'S FICTION." Women's Writing 15, no. 2 (August 2008): 244–58. http://dx.doi.org/10.1080/09699080802173806.

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16

Antonyan, Zaruhi. "LINGUO-STYLISTICS OF HORROR IN E. A. POE’S SHORT STORIES." Armenian Folia Anglistika 20, no. 1 (29) (May 15, 2024): 80–92. http://dx.doi.org/10.46991/afa/2024.20.1.80.

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Horror is a genre of science fiction which is intended to, or has the capacity to frighten, scare or disgust the readers by inducing feelings of horror and terror. This piece of fiction in prose of variable length also shocks and startles the readers inducing feelings of repulsion or loathing through creating a frightening atmosphere. Horror is frequently supernatural, though it can be non-supernatural. Often the central menace of a work of horror fiction can be interpreted as a metaphor for the larger fears of a society. The present investigation of horror in E. A. Poe’s short stories through the linguo-stylistic and case study methods of analyses aims to disclose the very distinct role of horror fiction in the perspective of human emotions – a kind of “mediator” between the world and its reflection in the language. The results show that emotions as a psychological, physiological and philosophical phenomenon verbally reproduce the emotional attitude of the person towards the world, that emotions are contained, fixed, expressed and indicated in utterances in the form of ideas – and as such – emotions are a perfect object of linguo-stylistic study.

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17

Rahmani, Gulrahman, and Sayed Mojtaba Nayel. "Magic Realism and Fantastic in Contemporary Literature." International Journal of Middle Eastern Research 3, no. 1 (January 6, 2024): 01–03. http://dx.doi.org/10.32996/ijmer.2024.3.1.1.

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Magical Realism and Fantastic are two widely used concepts in contemporary literature. Fantastic is such fiction that blends the realities of our physical world with the supernatural in an indistinguishable manner, with the aim of leading minds of varying abilities on different trails. Both are used in combination to complete the novel. The reader is amazed by the inability to differentiate between real life and the world of fantasy. In Magical Realism, as the name implies, magic, history, fiction and myths are employed. The characters often possess supernatural abilities. It is often mistaken for imaginary realism. The main difference between the two is that in Fantastic, the characters feel shocked and horrified by the happenings, as in Harry Potter’s series, where the sudden disappearance of ‘the mirror’ causes shock. By contrast, in magical realism, the characters tend to react to the occurrence of magic. Another important point is the relation of both to scientific fiction, where events are analyzed on the basis of facts and scientific development in order to enable humans to face life intelligently.

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18

Rania Huntington. "Classical Chinese Supernatural Fiction: A Morphological History (review)." China Review International 14, no. 1 (2008): 307–12. http://dx.doi.org/10.1353/cri.0.0010.

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19

Macdonald, D. L. "The Rise of Supernatural Fiction, 1762-1800 (review)." Eighteenth-Century Fiction 8, no. 4 (1996): 553–54. http://dx.doi.org/10.1353/ecf.1996.0049.

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20

Ali, Areej Mohammed Mubarak. "عالم ما وراء الطبيعة في الأدب الإنجليزي والأمريكي: دراسة مقارنة." مجلة العلوم الإنسانية و الإجتماعية 8, no. 4 (April 30, 2024): 35–54. http://dx.doi.org/10.26389/ajsrp.r031023.

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Supernatural fiction invites the reader to a world of mystery and imagination raising questions and sometimes doubts about the reality of this world. As it tempts the reader to explore the “unknown”, it tends to emphasize the possibility of the existence of vague worlds and issues beyond human mind and science. However, this possibility remains a hypothesis because it is always accompanied by a feeling of “uncertainty” which raises our doubts and made us skeptic about the existence and reality of this world. The same supernatural literary works tackle social, religious, and scientific issues as well as posing questions about its reliability which is another form of skepticism. This research argues that Skepticism is not far from the Gothic literary works, it presents various cases of “skepticism” in different supernatural literary works: The Rime of the ancient Mariner (1798), Frankenstein (1818), Young Goodman Brown (1835), The Fall of the House of Usher (1839). Each case of skepticism differs from the other in its form, the circumstances that created it, the purpose behind using it, and the conclusion it ends in. So, analyzing “Skepticism” its existence, different forms and contexts, and connection to Gothic fiction is the main motive of this research.

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21

Pedro, Dina. "‘We’re Going to Make You into a Proper Woman’: Postfeminist Gender Performativity and the Supernatural in <i>Penny Dreadful</i> (2014-2016)." Nordic Journal of English Studies 20, no. 1 (May 29, 2021): 194–214. http://dx.doi.org/10.35360/njes.533.

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Neo-Victorian Gothic fiction exploits the supernatural to achieve social and sexual emancipation for women, shaping the narrative into what Esther Saxey defines as the ‘liberation plot’ (2010). John Logan’s Penny Dreadful (2014-2016) explores how female characters transgress heteronormative gender roles with the assistance of supernatural forces. My main aim is to show how the series fails to grant the female protagonists a sense of feminist liberation, punishing them instead for their subversion of socially imposed gender acts. In applying Saxey’s (2010) and other supplementary approaches to gender emancipation, I analyse the female characters’ failed attempt at achieving it by unleashing their supernatural doubles. In doing so, I show that—in spite of Penny Dreadful’s apparent advocacy for female emancipation—its misogynistic vilification of vindictive women can be understood as part of the show’s postfeminist context of production.

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22

Roemer, K. M. "Future West: Utopia and Apocalypse in Frontier Science Fiction; Scare Tactics: Supernatural Fiction by American Women." American Literature 82, no. 1 (January 1, 2010): 223–25. http://dx.doi.org/10.1215/00029831-2009-091.

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23

Mogen, David. "The Haunted Dusk: American Supernatural Fiction 1820-1920 (review)." Henry James Review 6, no. 3 (1985): 206–7. http://dx.doi.org/10.1353/hjr.2010.0521.

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DEĞİRMENCİ, ASLI. "LOCATING THE SUPERNATURAL: A COMPARISON OF MAGICAL REALISM AND FANTASY FICTION." Journal of International Social Research 9, no. 47 (December 25, 2016): 64. http://dx.doi.org/10.17719/jisr.2016.1355.

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25

Nilsson, Louise. "Mediating the North in Crime Fiction." Journal of World Literature 1, no. 4 (2016): 538–54. http://dx.doi.org/10.1163/24056480-00104007.

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The multifaceted idea of the north is deeply embedded in literary and visual culture. This culturally forged and globally disseminated idea embraces the narratives of fear, as well elements of the supernatural and fantastic, political dimensions or specific topographies. By departing from the Nordic Noir subgenre, a globally dispersed literary genre, this article investigates how the depiction of local and global place creates an imaginary, which is in turn bound up with a broader notion of the north as an ostensible “elsewhere.” The article argues that the Nordic Noir’s foreign allure and overwhelming success rests upon a culturally forged idea of the north, found worldwide in various cultural expressions such as myths, folklore, fairy tales, literature, and contemporary cinema and trails centuries back in cultural history worldwide.

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Gadomska, Katarzyna. "Between the real and the supernatural, between Africa and the West: Anna Swoboda on the trail of Ken Bugul." Romanica Cracoviensia 22, no. 3 (November 30, 2022): 317–21. http://dx.doi.org/10.4467/20843917rc.22.029.16194.

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The article discusses the main premises of Anna Swoboda’s monograph La Prose de Ken Bugul : entre le réel et le surnaturel. Swoboda assumes that the key to deciphering the characteristics of Ken Bugul’s prose is the interpenetration of the two dimensions present in the work of this contemporary Senegalese writer: the real and the supernatural. The book analyzes the fantastic, marvelous and uncanny elements that constitute the supernatural aspect of Bugul’s hybrid prose, as well as examines the fragmentation and multifaceted identity of the autofictional female protagonist (in the part devoted to the real elements). The eclectic methodology combines Western and African research on non-mimetic fiction with postcolonial and feminist theories.

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27

Connolly, Andrew. "Masculinity, Political Action, and Spiritual Warfare in the Fictional Ministry of Frank E. Peretti." Christianity & Literature 69, no. 1 (March 2020): 53–72. http://dx.doi.org/10.1353/chy.2020.0003.

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Abstract: Like many evangelical authors, Frank E. Peretti claims that his writing is a ministry. While critics and reviewers have noted the way he popularized supernatural thrillers in the evangelical market and enjoyed unprecedented financial success for an evangelical author, they fail to recognize that the specific kind of ministry that Peretti engages in through fiction is new in three key ways: it is masculine, it is political, and it is sectarian. As a result, this paper argues that Peretti is responsible for changing the relationship between fiction authors and their audience within the evangelical market.

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28

Wang, Shengyu. "Anatomy of the Superstitious Mind: Subjectivity and Interiority in Two Early Twentieth-Century Rebuttals to Liaozhai's Records of the Strange." Sungkyun Journal of East Asian Studies 24, no. 1 (May 1, 2024): 57–80. http://dx.doi.org/10.1215/15982661-11056759.

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Abstract Focusing on the issue of psychological portrayal, this essay examines two early twentieth-century rebuttals of Liaozhai's Records of the Strange published in newly founded Chinese fiction magazines. Although the two rebuttals lend themselves easily to a didactic interpretation, the essay argues that their demystification of the supernatural is equally in service of literary representation of individualized subjectivity endowed with interiority. Besides aligning itself with the ongoing efforts to recover alternative forms of modernity repressed by the May Fourth discourse, this essay endeavors to contribute to a fuller understanding of the diversity of ideologies, forms, and styles in so-called new fiction.

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Viljoen, Jeanne-Marie. "Being (in)formed by indigenous voices: First steps to using graphic narratives to decolonise speculative fiction." Image & Text, no. 37 (November 1, 2023): 1–22. http://dx.doi.org/10.17159/2617-3255/2023/n37a37.

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The Greenlandic visual artist Nuka K. Godtfredsen and his literary and scientific collaborators have produced a series of four graphic narratives to represent distinct moments in Greenland's history, spanning the pre-colonised and colonial period. These narratives employ aspects of magic realism and adopt an approach to narrative that focuses on the supernatural and presents modes of being that contrast with their audiences' understanding of realities that are ordinarily (only) visible. I argue that these graphic narratives use strategies from speculative fiction that frame the modern European presence in Greenland and the narrative of colonialism as one of several multiple realities in the Arctic, rather than its central axis, leaving open the possibility for indigenous Greenlanders to speak on their own terms. This enables these graphic narratives to illuminate aspects of knowledge (including features of oral legend and supernatural encounters) that were previously discredited in colonial discourse. Furthermore, I show that attending to how embodied aspects of Greenlandic Inuit storytelling traditions can be captured in the graphic narrative medium may be an effective decolonial strategy, which could be employed by speculative fiction. I thus advocate methodologies for speculative fiction that strategically broaden its boundaries in order to address its intractable colonial legacy. Informed by approaches that focus attention on form - such as Marks's haptic visuality (2000) and visual theories of the power of hand-drawn comics (Groensteen 2010, Chute 2008) to engage the reader/viewer in both an embodied and reflective way - I assert that including graphic narratives which employ strategies of speculative fiction may present a unique opportunity for the genre to mount a powerful challenge to a colonial knowledge production.

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Čipkár, Ivan. "Mystery or not? Quantum cognition and the interpretation of the fantastic in Neil Gaiman." Ars Aeterna 8, no. 1 (June 1, 2016): 24–33. http://dx.doi.org/10.1515/aa-2016-0003.

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AbstractThe present paper describes a reader-response experiment focusing on the perception of the genre of the fantastic. It also proposes an update of the genre’s structuralist definition to better conform to contemporary cognitive research. Participants answered questions relating to the interpretation of events and important symbols in a Neil Gaiman short story and were also asked if they considered the story “fantasy” or “realistic fiction.” Tzvetan Todorov characterized the fantastic as a hesitation between the uncanny (realistic interpretation) and the marvelous (supernatural interpretation). Neil Gaiman, a popular contemporary author of genre fiction, has utilized this hesitation between psychological and supernatural explanations of his stories to great effect. The results show a consistently higher degree of enjoyment in readers who were aware of the dual interpretation and partook in the hesitation. This paper also introduces the concept of quantum cognition into literary theory and explains the benefit of using terminology from this discipline in a reader-response context. The findings of this study could be the first step towards a better understanding of the different ways in which readers cognitively approach the fantastic or genre in general.

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Zoriana, Hodunok. "The Physical Discourse of Fan Fiction." PSYCHOLINGUISTICS 24, no. 2 (October 3, 2018): 11–28. http://dx.doi.org/10.31470/2309-1797-2018-24-2-11-28.

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The research of physical discourse, typical characters, stereotypical gender roles of fan fiction’s texts, based on “Harry Potter”, “Supernatural”, “The Song of Ice and Fire”/“The Game of Throne”, is realized in the article. The author uses Psycholinguistics (Frame Method and Free Associative Experiment), Hermeneutics, some elements of Comparative analysis to describe the main characteristics of the personages and explain peculiarities of their sexual interactions. Fan fiction prose is a kind of virtual mass literature, so it has special features inherent to mass literature in general, for example, comfort reading, typical personages in typical dramatic plot, often – happy end etc. The physical discourse is the most important part of fan fiction’s texts, because the experience of sexual interactions is desirable for a person and it is a base of human’s life. The frame “body” covers not only sex, but also love and security (for example, to be safe in one’s hands). The most frequent nouns of the frame are “hands/fingers” and “eyes/ gaze”. It is important to note that man’s hands and eyes often show his character. But woman’s eyes and hands realize her emotions and feelings. It depends on stereotypical gender roles of mass culture: man has a function to interact with the world, and woman has a function to safe life inside (to give birth), which is confirmed by the free associative experiment. Physical damages (scars, injuries, deceases – for man; rapes – for woman) make the personages more emotionally close to a reader of fan fiction; show an act of initiation (transition from the fandom text to fan fiction text).

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Cook, Daniel. "Walter Scott's Late Gothic Stories." Gothic Studies 23, no. 1 (March 2021): 43–59. http://dx.doi.org/10.3366/gothic.2021.0077.

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While ‘Wandering Willie's Tale’, above all of Walter Scott's shorter fictions, has often been included in Gothic anthologies and period surveys, the apparently disposable pieces that appeared in The Keepsake for 1829, renegades from the novelist's failed Chronicles of the Canongate series, have received far less attention. Read in the unlikely context of a plush Christmas gift book, ‘My Aunt Margaret's Mirror’ and ‘The Tapestried Chamber’ repay an audience familiar with the conventions of a supernatural short story. But to keep readers interested, The Author of Waverley, writing at the end of a long and celebrated career in fiction, would need to employ some new gimmicks. As we shall see, the late stories are not literary cast-offs but recastings finely attuned to a bespoke word-and-image forum.

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Martinkovič, Matej. "Genre-Specific Irrealia in Translation: Can Irrealia Help Define Speculative Fiction Sub-Genres?" English Studies at NBU 8, no. 1 (June 30, 2022): 73–92. http://dx.doi.org/10.33919/esnbu.22.1.5.

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Speculative fiction texts and their translation, particularly from English, have been gradually rising in prominence. However, not only do speculative fiction and its sub-genres remain only vaguely defined in general despite numerous attempts by both writers and theoreticians, but their specific features are often even less explored from the perspective of translation studies. This article aims to enrich translation studies understanding of irrealia as signature features of speculative fiction texts. It builds on existing conceptions of both irrealia and realia in order to propose the concept of genre-specific irrealia. Hence, it discusses how irrealia relate to individual sub-genres of speculative fiction and how such distinctions can help the recipient or translator realise the specificity of these elements. The paper has a particular focus on science fiction, although it also discusses fantasy and supernatural horror specific irrealia. The article then illustrates the concept of genre-specific irrealia and discusses its implications for translation on examples drawn from the novel Fahrenheit 451 by Ray Bradbury and its Slovak translation by the translator Jozef Klinga.

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Attebery, Brian. "Frankenstein and the Science of Dreaming." Science Fiction Studies 51, no. 1 (March 2024): 1–16. http://dx.doi.org/10.1353/sfs.2024.a920230.

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ABSTRACT: Science fiction claims Mary Shelley's Frankenstein as a progenitor on the basis of its extrapolation from speculations by Erasmus Darwin and others about the nature and origins of life. An equally strong narrative thread in the novel about extraordinary states of mind is usually taken as evidence of its grounding in supernatural and gothic fiction. The novel applies the same materialist assumptions and reasoned approach to dreaming, however, that it uses to explore biological science. Reading it in the context, first, of David Hartley's eighteenth-century Observations on Man and, second, of contemporary studies of the dreaming brain, we can see that Frankenstein is also science fiction of a different sort than usually supposed, a thought experiment about states of consciousness and unconsciousness and the strange experiences that arise from disrupting the boundary between sleep and waking.

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Vuohelainen, Minna. "Traveller's Tales: Rudyard Kipling's Gothic Short Fiction." Gothic Studies 23, no. 2 (July 2021): 181–200. http://dx.doi.org/10.3366/gothic.2021.0093.

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Between 1884 and 1936, Rudyard Kipling wrote over 300 short stories, most of which were first published in colonial and cosmopolitan periodicals before being reissued in short-story collections. This corpus contains a number of critically neglected Gothic stories that fall into four groups: stories that belong to the ghost-story tradition; stories that represent the colonial encounter through gothic tropes of horror and the uncanny but do not necessarily include any supernatural elements; stories that develop an elegiac and elliptical Gothic Modernism; and stories that make use of the First World War and its aftermath as a gothic environment. This essay evaluates Kipling's contribution to the critically neglected genre of the Gothic short story, with a focus on the stories' persistent preoccupation with spatial tropes of travel, disorientation and displacement.

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Prof. Sanjay Kumar Swarnkar and Shalini Shukla. "The Elements of Supernatural and Magic Realism in Toni Morrison’s Beloved." Creative Launcher 6, no. 3 (August 30, 2021): 40–43. http://dx.doi.org/10.53032/tcl.2021.6.3.08.

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The present research paper is a study of the elements of Magic Realism and the supernatural elements in the novel, Beloved by the Nobel laureate novelist Toni Morrison. The term Magic Realism was originally applied in the 1920s to the school of surrealist German painters and was later used to describe the process fiction of writers like George Luis Burges, Gabriel Garcia Marquez, and Salman Rushdie etc. These writers weave a sharply etched realism representing ordinary events and details together with fantastic and dream-like elements, as well as with material derived from myth and fairy tales. The German critic Franz Roz introduced the concept of Magic realism in 1920 and it was first used in paintings. The term was introduced in the book Post-expressionism, Magic Realism: Problem of the Most Recent European Paintings in 1925. The purpose here is to analyze the elements of magic realism in the novel, Beloved. We can see supernatural elements in Sethe’s house that bring chaos by haunting everyone through its mysterious presence, and making Sethe’s both the sons Howard and Buglar run away. It appears to be the ghost of a baby which was murdered by Sethe. The ghost causes the things in the house to break and shake mysteriously. In magic realism fiction the ghosts are the central characters generally. In the novel Beloved Morrison has portrayed the ghost as a living person. Thus, the dominance of a unique, mystical and gloomy atmosphere can be seen throughout the novel.

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Mujahid Hussain. "Interrelationships Between Urdu Fiction And Travelogue." Tasdiqتصدیق۔ 2, no. 1 (January 13, 2021): 29–41. http://dx.doi.org/10.56276/tasdiq.v2i1.20.

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If we examine the structure, form, elements, and shape of important genres of Urdu fiction (fable, novel, short story, drama), common traits and features can be found in fiction and travelogue despite their factual and predetermined generic individuality and status. Nonetheless, according to the artistic requirements of genres mentioned in these common traits, there can be a difference of length, material, characters and events, reality and imagination, supernatural elements and scientific approach, scene and background, style and form; and it should be. But important elements like plot, story, events, characters, qualities, and drawbacks of character, love, adventure, the eternal conflict between good and evil, ethics, romance, realism, social norms, dogmatic beliefs, historical and scientific facts, narration, diction, similes and metaphors, proverbial style, clarity, formal way of writing, dialogues, screenwriting, artistic features of language and narration, objectivity and philosophy of life can be found in fiction one way or the other with a little bit difference of structural requirements.

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Suvorov, Mikhail. "Otherworldly Beings in Modern Yemeni Ethnographic and Fiction Literature." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 28, no. 1 (June 2022): 23–30. http://dx.doi.org/10.31250/1238-5018-2022-28-1-23-30.

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The society of Yemen, which in many respects retains its traditional features, is characterized, among other matters, by a strong belief it the existence of otherworldly beings, such as jinn, ghoul, ghost, werewolf, etc. This paper is intended to discuss to what extent and in what way this belief is manifested in the modern ethnographic and fiction literature of Yemen. Appropriate fragments of short stories, novels, memoir and scholarly works of Yemeni authors help to clarify what Yemenis think about the nomenclature of supernatural creatures, about their appearances, abilities, habits and “specializations” in contacts with humans, about their harm and their possible benefits for humans.

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Genís i Mas, Daniel. "El somni de la raó (científica) provoca monstres (literaris): O com la ciència i la literatura es donen la mà." Mètode Revista de difusió de la investigació, no. 6 (April 15, 2016): 14. http://dx.doi.org/10.7203/metode.6.3481.

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Enlightened reason and romantic imagination were seen as two opposing ways of conceiving art and life. Today, from our historical vantage point, it is difficult to understand one without the other. As if the nightmares of science were nothing more than the food of romantic monsters. This article analyses the evolution of fantastic literature and the birth of scientific fiction in the nineteenth century, as well as the conflict between the rational and the supernatural.

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MacLachlan, Christopher. "Murder and the Supernatural: Crime in the Fiction of Scott, Hogg, and Stevenson." Clues: A Journal of Detection 26, no. 2 (January 1, 2008): 10–22. http://dx.doi.org/10.3172/clu26.2.10.

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Murphy, Patrick Joseph. "Old English Enigmatic Poems and Their Reception in Early Scholarship and Supernatural Fiction." Humanities 11, no. 2 (February 28, 2022): 34. http://dx.doi.org/10.3390/h11020034.

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The scholarly reception history of the Old English riddles and adjacent “enigmatic poems” of the Exeter Book reveals a long process of creating intelligibility and order out of a complicated and obscure manuscript context. Understanding this history of reception allows us to see the influence of Old English poetry on modern creative medievalism, including the unexpected influence of medieval “enigmatic” poetry on the modern genre of supernatural fiction. Specifically, it is argued that the scholarly reception of folios 122v–123v of the Exeter Anthology was instrumental in inspiring one of the acknowledged classic ghost stories of the twentieth century, M.R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”.

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Lundie, Catherine. ""One Need Not be A Chamber-to be Haunted-": American Women's Supernatural Fiction." Canadian Review of American Studies 22, Supplement 2 (January 1992): 239–78. http://dx.doi.org/10.3138/cras-022s-02-05.

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SIMMONS, CLARE A. "British Women’s Short Supernatural Fiction, 1860-1930: Our Own Ghostliness, by Victoria Margree." Victorian Studies 63, no. 4 (December 2021): 576–78. http://dx.doi.org/10.2979/victorianstudies.63.4.11.

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Nikam, Dr Sudhir V., and Mr Rajkiran J. Biraje. "A Critical Study of Stephen King and Horror Fiction." SMART MOVES JOURNAL IJELLH 7, no. 5 (May 28, 2019): 23. http://dx.doi.org/10.24113/ijellh.v7i5.10176.

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This present research undertakes the extensive study of horror fiction genre with reference to the select novels of one of the finest and celebrated horror fiction writers of all time, Stephen King. This paper is a substantial assessment of the select horror fiction of King. The research problem revolves extensively around the word fear. Stephen King has conjured up the images of most horrific creatures, monsters, places, and stories, and some of the most enduring villains in fiction. These unimaginable evil beings test the limits of the protagonist. Some of these villains have gone to the extent of becoming as famous (or infamous) as the writer himself. Many of Stephen King villains are monsters of the human variety such as serial killers, power hungry despots, nihilists, etc. His most memorable and monumental characters are the supernatural ones who use their dark powers to twist the orderly world around them into a special place of chaos and pain. It has been assumed that the horror elements in the fiction of Stephen King are the result of his strategic use of supernaturalist and non-supernaturalist elements. The techniques that he uses to evoke horror in reader have been treated as a site for research attention by the researcher.

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Ensslin, Astrid. "The Interlocutor in Print and Digital Fiction: Dialogicity, Agency, (De-)Conventionalization." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 6, no. 3 (August 10, 2018): 21–34. http://dx.doi.org/10.14195/2182-8830_6-3_2.

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Digital fiction typically puts the reader/player in a cybernetic dialogue with various narrative functions, such as characters, narrative voices, or prompts emanating from the storytelling environment. Readers enact their responses either verbally, through typed keyboard input, or haptically, through various types of physical interactions with the interface (mouseclick; controller moves; touch). The sense of agency evoked through these dialogic interactions has been fully conventionalized as part of digital narrativity. Yet there are instances of enacted dialogicity in digital fiction that merit more in-depth investigation under the broad labels of anti-mimeticism and intrinsic unnaturalness (Richardson, 2016), such as when readers enact pre-scripted narratees without, however, being able to take agency over the (canonical) narrative as a whole (Dave Morris’s Frankenstein), or when they hear or read a “protean,” “disembodied questioning voice” (Richardson, 2006: 79) that oscillates between system feedback, interior character monologue and supernatural interaction (Dreaming Methods’ WALLPAPER). I shall examine various intrinsically unnatural examples of the media-specific interlocutor in print and digital fiction and evaluate the extent to which unconventional interlocutors in digital fiction may have anti-mimetic, or defamiliarizing effects.

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Lingard, John. "Till My Change Come: Nature, Justice, and Redemption in Åsa Larsson’s Until Thy Wrath Be Past." Scandinavian-Canadian Studies 22 (December 1, 2014): 106–26. http://dx.doi.org/10.29173/scancan102.

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ABSTRACT: Åsa Larsson’s Till dess din vrede upphör (2009) [Until Thy Wrath Be Past 2011] is the fourth of five Rebecka Martinsson mysteries. Larsson enhances the genre with an exceptionally vivid depiction of the Swedish Arctic. All the characters are affected by the forbidding landscape of forests, frozen lakes, and mountains. The harshness of nature in this region leads some to violence and death; others to self-understanding and redemption. The novel’s most striking feature is, however, a remarkably successful introduction of the supernatural into the story. The first narrator is the spirit of a murder victim, who hovers above the other characters, influencing their actions and thoughts. Freed from the constraints of time and place, she is able to travel back as far as World War II and witness the dark collaborationist underworld of a so-called neutral Sweden. With her skilful interweaving of mystery, nature, and the supernatural, Larsson has created a powerful and moving addition to Nordic crime fiction.

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Paulinyi, Zoltán. "THE “GREAT GODDESS” OF TEOTIHUACAN: Fiction or Reality?" Ancient Mesoamerica 17, no. 1 (January 2006): 1–15. http://dx.doi.org/10.1017/s0956536106060020.

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A critical review of the history of research devoted to the Great Goddess of Teotihuacan shows that over the past twenty years, and in several publications, this goddess has been transformed gradually into a universal nature deity, has received the title “Great,” and has been regarded by many authorities as the principal deity of Teotihuacan. This has become accepted even though, in my judgment, the goddess was created through a highly speculative line of argument, fusing several different iconographic complexes under that name, and despite the fact that the greater part seem to have nothing to do with each other. As a consequence, the concept of this omnipotent goddess has become a serious obstacle holding back the progress of iconographic research on the Teotihuacan supernatural world. The discussion here reaches the conclusion that in place of a Great Goddess, we are able to identify at least six different gods and goddesses, several among them not yet subjected to analysis.

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Bulla, Irene. "Negative Language and Apophatic Knowledge in Nineteenth-Century Fantastic Literature." Genre 56, no. 3 (December 1, 2023): 265–81. http://dx.doi.org/10.1215/00166928-10779291.

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Abstract This article analyzes the rhetoric of nineteenth-century fantastic fiction in order to situate the genre within the intellectual tradition of apophatic, or self-negating, discourse. Through a reading of Fitz-James O'Brien's “What Was It? A Mystery” (1859) and Ambrose Bierce's “The Damned Thing” (1893), two short stories that feature the same kind of supernatural phenomenon (a material ghost), the essay argues that apophasis can be used as a key to understand not only the rhetorical fabric of the fantastic genre but also its tropes and themes and its larger epistemological preoccupations.

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Sterken, Arjan. "Narrative and Belief: The Religious Affordance of Supernatural Fiction, edited by Markus Altena Davidsen." Numen 66, no. 5-6 (October 1, 2019): 616–19. http://dx.doi.org/10.1163/15685276-12341561.

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Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.

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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.

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