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Relevant bibliographies by topics / Whales, fiction

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Academic literature on the topic 'Whales, fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Whales, fiction"

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D’Amato, Anthony, and Sudhir K. Chopra. "Whales: Their Emerging Right to Life." American Journal of International Law 85, no. 1 (1991): 21–62. http://dx.doi.org/10.2307/2203067.

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Writers of science fiction have often speculated about what it would be like to discover, on a planet in outer space, a much higher form of intelligence. How would we react to those creatures? Would we be so fearful of them that we would try to kill them? Or would we welcome the opportunity to attempt to understand their language and culture? Stranger than fiction is the fact that there already exists a species of animal life on earth that scientists speculate has higher than human intelligence. The whale has a brain that in some instances is six times bigger than the human brain and its neocortex is more convoluted. Discussing the creative processes of whales, Dr. John Lilly says that a researcher “is struck with the fact that one’s current basic assumptions and even one’s current expectations determine, within certain limits, the results attained with a particular animal at that particular time.” Whales speak to other whales in a language that appears to include abstruse mathematical poetry. They have also developed interspecies communication with dolphins. Whales are the most specialized of all mammals.

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Gradert, Kenyon. "Windmills, Whales, and Democracy’s Mad Enchanters." Leviathan 26, no. 1 (2024): 5–29. http://dx.doi.org/10.1353/lvn.2024.a925508.

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Abstract: Melville’s debts to Cervantes have received scant attention, but Moby-Dick bears the deep imprint of Don Quixote . In particular, Cervantes helped Melville clarify a problem he sensed in democracy and modernity: pervasive feelings of loneliness, aimlessness, and prosaicness leave individuals susceptible to madmen who promise to reenchant life with the regal fullness of fiction. While Don Quixote celebrates the comic possibilities of this hunger for fictionality, Moby-Dick highlights its tragic potential for disaster.

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Bregović, Monika. "Virginia Woolf’s Fish." Cross-cultural studies review 2, no. 3-4 (2021): 67–82. http://dx.doi.org/10.38003/ccsr.2.1-2.4.

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Aquatic creatures such as pikes, salmon and whales feature prominently in the poetry, fiction and painting of the Modernist period. It should therefore come as no surprise that water-dwelling animals, and fish especially, were fascinating to Virginia Woolf too. Woolf’s interest in fish (among other animals) can be accounted for by the profound changes in human-animal relations that mark the period of Modernism, and which were brought about by the unyielding influence of taxonomy and Darwin’s theory of evolution, but also new developments in ethology and ecology that appeared in early 20th century. This article addresses the significance of fish as both zoometaphor and individual subject in the fiction and non-fiction of Virginia Woolf. First, I comment on the significance of fishes in connection to Modernist ideas on beauty. Then, I analyze fishing allegories and fish-related motifs in the context of Woolf’s own (feminist) poetics. In the last part of the article I analyze the posthuman potential of animal consciousness that could be regarded as superior to the human one.

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Cardoso, André Cabral de Almeida. "On Whales and Giants: Images of Leviathan in New Model Army and The Unwritten." Gragoatá 22, no. 43 (2017): 787–808. http://dx.doi.org/10.22409/gragoata.v22i43.33498.

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Fantastic and science-fictional narratives employ specific modes of representation. In both genres, figurative language can be used in a literal sense, so that symbols acquire a concrete representation in the text. The aim of this article is to examine how a specific image, the giant Leviathan as a metaphor for the aggregation of individuals in order to form the social body, is explored in two genre narratives. In the science fiction novel New Model Army, by Adam Roberts, the image of Thomas Hobbes’ Leviathan is used to suggest the notion of a radical democracy in which all members of the community have an organic participation in the social body. In the graphic narrative The Unwritten, by Mike Carey, Peter Gross and Vince Locke, Hobbes’ Leviathan is explored in conjunction with Melville’s Moby-Dick in order to investigate the nature of symbolic representation and the relation between culture and objective reality. The appropriation of the metaphor of the Leviathan as a concrete symbol determines the way the two narratives develop their main themes and articulate their meanings. ---DOI: http://dx.doi.org/10.22409/gragoata.2017n43a943.

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Jarrett, David. "Silent stars and wordless whales: The maintenance and disruption of paradigms of scientific knowledge in science fiction." European Legacy 2, no. 4 (1997): 775–80. http://dx.doi.org/10.1080/10848779708579811.

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Carrier, David R., Stephen M. Deban, and Jason Otterstrom. "The face that sank the Essex: potential function of the spermaceti organ in aggression." Journal of Experimental Biology 205, no. 12 (2002): 1755–63. http://dx.doi.org/10.1242/jeb.205.12.1755.

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SUMMARY `Forehead to forehead I meet thee, this third time, Moby Dick!' [Ahab (Melville, 1851)] Herman Melville's fictional portrayal of the sinking of the Pequodwas inspired by instances in which large sperm whales sank whaling ships by ramming the ships with their heads. Observations of aggression in species of the four major clades of cetacean and the artiodactyl outgroup suggest that head-butting during male—male aggression is a basal behavior for cetaceans. We hypothesize that the ability of sperm whales to destroy stout wooden ships, 3-5 times their body mass, is a product of specialization for male—male aggression. Specifically, we suggest that the greatly enlarged and derived melon of sperm whales, the spermaceti organ, evolved as a battering ram to injure an opponent. To address this hypothesis, we examined the correlation between relative melon size and the level of sexual dimorphism in body size among cetaceans. We also modeled impacts between two equal-sized sperm whales to determine whether it is physically possible for the spermaceti organ to function as an effective battering ram. We found (i) that the evolution of relative melon size in cetaceans is positively correlated with the evolution of sexual dimorphism in body size and (ii) that the spermaceti organ of a charging sperm whale has enough momentum to seriously injure an opponent. These observations are consistent with the hypothesis that the spermaceti organ has evolved to be a weapon used in male—male aggression.

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DULINA, ANNA. "THE SILENT LETTER IN H. MELVILLE’S MOBY DICK, OR THE WHALE." Lomonosov Journal of Philology, no. 1, 2024 (February 17, 2024): 139–48. http://dx.doi.org/10.55959/https://vestnik.philol.msu.ru/issues/vmu_9_philol__2024_01_10.pdf.

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The article analyzes the role of the unpronounceable (silent) consonant ‘h’ and the image of the mute letter in Herman Melville’s poetics, especially in Moby-Dick, or The Whale. The paper discusses the indistinction of textual objects (the word ‘whale’, the title of the novel The Whale) and images (white sperm whale Moby Dick, pale characters in Melville’s short stories), which is key for characterizing Melville’s works as autometatexts. The common characteristics that unite both layers - the graphic, auditory existence of the text and the fictional world of the novel - are ‘silence’ and ‘visibility’. The article examines the structure-forming role of these concepts for the system of the images and motifs and their conceptualization within the framework of Melville’s philosophy of creativity and the paradox of the genius who is able to tell the Truth in fiction. The act of creating and reading a text is identified with the process of drawing and seeing a silent letter; the novel then is a transformation field for both the writer and the reader into an architect and a stonemason on the way to comprehending the secret knowledge through the matter of language. The article takes into account the interpretations of the role of the letter ‘h’ in the novel that are classical in Anglophone Melville studies; the methodology of the French philosophers, who wrote about Melville’s work; and modern interpretations from Russian literary criticism.

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Brito, Cristina. "The Voice of Skogula in ‘Beasts Royal’ and a Story of the Tagus Estuary (Lisbon, Portugal) as Seen through a Whale’s-Eye View." Humanities 8, no. 1 (2019): 47. http://dx.doi.org/10.3390/h8010047.

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Patrick O’Brian inspired this work, with his 1934 book of chronicles “Beasts Royal,” where he gives a voice to animals. Therein, among other animals, we find Skogula, a young sperm whale journeying with his family group across the South Seas and his views on the surrounding world, both underwater and on land. This paper tells a story of historical natural events, from the viewpoint of a fin whale that travelled, rested and stranded in the Tagus estuary mouth (Lisbon, Portugal) during the early 16th century. It allows us to move across time and explore the past of this estuarine ecosystem. What kind of changes took place and how can literature and heritage contribute to understand peoples’ constructions of past environments, local maritime histories and memories? In the second part of this essay we present a fictional short story, supported on historical documental sources and imagery research where Lily, the whale, is the main character. Thus, we see the Tagus estuary as perceived through this whale’s-eye view. Finally, we discuss past earthquakes, whale strandings, the occurrence of seals and dolphins and peoples’ perceptions of the Tagus coastal environment across time. We expect to make a contribution to the field of the marine environmental humanities. We will do so both by addressing, by means of this literary approach, the writing of “new thalassographies,” oceanic historiographies and “historicities” and by including all intervening actors—people, animals and the physical space—in the understanding of the past of more-than-human aquatic worlds.

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Atkinson, Paul. "Ethnography or fiction: A false dichotomy. Response to Whaley." Linguistics and Education 5, no. 1 (1993): 53–60. http://dx.doi.org/10.1016/s0898-5898(05)80003-8.

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Oripeloye, Henri. "Postmodernist Mythic Sexual Narratives in Zakes Mda’s The Whale Caller." Matatu 48, no. 1 (2016): 49–60. http://dx.doi.org/10.1163/18757421-04801005.

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Zakes Mda’s The Whale Caller is easily identifiable as a narrative that projects the newness of South Africa in terms of literary transition. The radical shift in this novel resides in its preoccupation with the excessive passion a man has for a whale and this interest creates an unusual space for this work in contemporary African fiction; its mapping of perverted sexuality clearly sets it outside the mainstream of African prose narrative. In the universe of this socio-cultural text, the actions, characters, and signifiers are constructed to reflect a stasis of frustration or disjunction in the apprehension of psycho-social forces that favour the dismantling of cultural expectations that sexuality be recognized as sacrosanct. This essay focuses on postmodernist mythical expression in The Whale Caller, which is used to valorize the process of cultural rupture. With intense self-reflexivity, Mda sends signals about the cultural and ecological stultification characterizing the new South Africa. The Whale Caller underpins two realms of readability; its tragic tones point, on the one hand, to the neglect of ecological concerns. In the other realms of meaning, the Whale Caller as a defamiliarizing object becomes a metaphorization of cultural transformation.

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Dissertations / Theses on the topic "Whales, fiction"

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Christie, Lisa Karen. "That dam whale, truth, fiction and authority in King and Melville." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ66504.pdf.

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Hughes, Alun Hughes. "What's the problem with reading? : Thesis in language." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36329.

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This project began with the basic preconception that there is a growing resistance towards reading among students and this has been partially proved correct. The research questions were: In upper secondary education, what is it that encourages or hinders the students’ incentives for reading? What effect does this have on the subsequent teaching of fictional texts? The aim of this investigation was to examine attitudes on reading among students in upper secondary education and how these attitudes affect the teaching of fictional texts. The project’s research material consists of a qualitative interview with a practising teacher, and a student questionnaire which was answered by two of the teacher’s classes; one studying the natural science programme, the other studying a vocational, practically oriented programme. The overall majority of students recognise the importance of reading in their lives, seeing it as an activity that helps them understand themselves and the world. The importance of ”contact points” within the texts is vital for encouraging reading, yet finding texts which have a universal appeal proves to be an impossible task. Reading is seen by the students and the teacher as an activity that contributes to the students’ all-round education, although the teacher does not believe that most of his students truly understand this. A key factor which hinders reading incentives is time. Students grapple with a heavy workload of schoolwork and reading is not prioritised. Film is seen as an effective ”way in” to reading as many students state a preference for films over books, which is largely recognised by the teacher. Film is used as a supplement to the teaching of fiction and is found by the teacher to be a successful method. School texts are invariably described as boring on account of the difficulties that students have engaging and relating with them, yet many texts are also described in equal measure as exciting or interesting. Reading proves to be more popular among the natural science class, yet despite some very negative attitudes in the vocational class, there are still a number of encouragingly positive ones.

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Jones, Susanne Lenné. "What’s in a Frame?: Photography, Memory, and History in Contemporary German Literature." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1132239561.

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Streat, Anita, and 李玫芳. "A Comparison of Young Adult Fiction The Whale Rider and Black Wings." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/76824991321643161283.

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碩士<br>國立臺中教育大學<br>語文教育學系碩博士班<br>100<br>This thesis is a comparison and contrast of two pieces of young adult fiction, The Whale Rider and Black Wings. The Whale Rider is a story based on a Maori myth ---Paikea, the whale rider. The main character is a teenage girl, Kahu, who (just like Paikea) has the ability to talk to whales. Unfortunately, being a girl makes her grandfather reject her because of her inability to assume traditional male leadership roles. Black Wings is a story about four Tao boys who live close to Taiwan on Orchid Island. They start building dreams about their futures and each of them has different achievements that build towards fulfilling their dreams. The fly fish myth is also applied at the beginning of the story. Both The Whale Rider and Black Wings show indigenous literature elements, such as mythology, cultural conflicts and the relationship with nature/ocean. The first chapter of this study serves as a general introduction of the cultural and literature background of Maori in New Zealand and Tao on Orchid Island, Taiwan. The second chapter reviews previous studies of the two writers, Witi Ihimaera and Syaman Rapongan, and their work. Chapter Three analyses the conflicts in the stories. Chapter Four illustrates how the writers try to inspire young readers’ towards self-recognition. The fifth chapter analyses the images and symbolism of the ocean in both texts. Chapter Six is a conclusion which compares and contrasts the writers’ ideas of culture, self-recognition and nature. The two stories share many similarities but also many differences. How the writers view their own culture and the purpose of their writing is also different.

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Kirillova, Elena. "WHAT’S LOVE GOT TO DO WITH IT: TRANSLATING SHORT STORIES FROM OMEDETŌ BY KAWAKAMI HIROMI." 2020. https://scholarworks.umass.edu/masters_theses_2/930.

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This thesis represents a partial translation of the short story collection Omedetō by Kawakami Hiromi. Published in 2000, the collection contains twelve short stories, each narrating an intimate relationship between two people. It was favorably received by the literary world and was republished twice, in 2003 and 2007. My critical introduction provides context to Omedetō by discussing Kawakami’s biography and writing style, and the book’s reception in Japan. I also make note of my translation methods, domestication and dynamic equivalence, and provide examples of how I translated onomatopoeia. Finally, I give historical background to Japanese intimacy at the turn of the millennium and argue that each story serves as a commentary on Japanese modern intimacy, which Kawakami defines as a combination of physical and emotional closeness or a yearning for such.

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Olmanson, Justin Douglas. "What’s going on at Zapata Elementary? people, research, and technology in educational spaces : an experiment in experience and possibility." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-08-4259.

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Given the proliferation of technological tools, environments, and supports within the field of education, and the predominant investigative orientation of educational technology researchers being intervention-focused, a minority of scholars have called for other ways of understanding the nuance and contours of educational interactions and technology. This study explores the possibilities for such an orientation at the public elementary school level by maintaining a non-traditional theoretical and wide contextual focus. Toward this end, this study performs and constitutes an experimental mode of address meant to further considerations of educational technology use and educational technology discourse in and around school libraries, second, third, fourth, and fifth grade bilingual, ESL, and regular classrooms. This work is a Deleuzian experiment in New Ethnographic Writing and New Ethnography that also explores aspects of critical design ethnography and the affinity-based design of an educational mashup. Ethnographic attentions were applied over four-year period concentrating on language arts, ESL, and literacy activities. Through performative writing, loose networks of individuals, artifacts, places, processes, movement, and machines are explored.<br>text

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Books on the topic "Whales, fiction"

1

Bunting, Eve. Whales passing. Blue Sky Press, 2003.

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Raschka, Christopher. Whaley Whale. Hyperion Books for Children, 2000.

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Claybourne, Anna. Humpback whales. Raintree, 2013.

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Little, Jean. Henry's wrong turn. Sterling Pub., 2006.

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Little, Jean. Henry's wrong turn. Little, Brown, 1989.

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Weller, Frances Ward. I wonder if I'll see a whale. Hodder and Stoughton, 1991.

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Ryder, Joanne. Winter whale. Morrow Junior Books, 1991.

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ill, Melvin James, ed. Katie K. Whale: A whale of a tale. Nags Head Art, 1995.

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ill, Lee Katie 1942, ed. Orca song. Soundprints, 1994.

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Eisemann, Henry. Hump-Free heads for Hawaii. Emprise Publications, 1986.

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Book chapters on the topic "Whales, fiction"

1

De Bruyn, Ben. "Whale Song in Submarine Fiction." In The Novel and the Multispecies Soundscape. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30122-4_6.

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Plath, Sylvia, Susan Sontag, and Joyce Carol Oates. "‘What’s Happening in America’." In Twentieth-Century American Women’s Fiction. Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27794-0_8.

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Missett, Tracy C., Amy Price Azano, and Carolyn M. Callahan. "Fiction and Nonfiction: What's the Difference?" In Research and Rhetoric. Routledge, 2021. http://dx.doi.org/10.4324/9781003237723-8.

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Smith, Craig. "Animal Others, Other People: Exploring Cetacean Personhood in Zakes Mda’s The Whale Caller." In Creatural Fictions. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-51811-8_12.

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Johnson, Brian David. "Making the Future: Now That You Have Developed Your SF Prototype, What’s Next?" In Science Fiction Prototyping: Designing the Future with Science Fiction. Springer International Publishing, 2011. http://dx.doi.org/10.1007/978-3-031-01796-4_7.

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Callahan, Carolyn M., Tracy C. Missett, Amy Price Azano, Melanie Caughey, Annalissa V. Brodersen, and Mary Tackett. "What's the Point?" In Fiction and Nonfiction Language Arts Units for Gifted Students in Grade 4. Routledge, 2021. http://dx.doi.org/10.4324/9781003235194-32.

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Price, Jason D. "Ways of Desiring: Postcolonial Animals and Affect in The Whale Caller." In Animals and Desire in South African Fiction. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56726-6_3.

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De Cristofaro, Diletta. "“What’s the Plot, Man?”: Alternate History and the Sense of an Ending in David Means’ Hystopia." In 21st Century US Historical Fiction. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41897-7_13.

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Ballhausen, Thomas. "What’s the story, mother? Some thoughts on Science Fiction Film and Space Travel." In Humans in Outer Space — Interdisciplinary Odysseys. Springer Vienna, 2009. http://dx.doi.org/10.1007/978-3-211-87465-3_5.

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Berto, Francesco, Mark Jago, and Christopher Badura. "Fiction and Fictional Objects." In Impossible Worlds. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198812791.003.0011.

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This chapter begins with the problem of what counts as true in a given fiction, beyond what’s explicitly given in that fiction. It then considers the problem of inconsistent fictions, which are naturally handled using impossible worlds. An account of truth in fiction is presented, which develops one of Lewis’s analyses into an approach which can handle inconsistent fictions with ease. The chapter then turns to the second main topic: how we should think about fictional entities. Realism and fictionalism about fictional characters are contrasted. A third option is then considered, which takes the Meinongian line that fictional characters are non-existent objects. Several versions of this idea and their various issues are discussed.

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Conference papers on the topic "Whales, fiction"

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Hajian, George. "Hard Working Covers." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.87.

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“… A good archaeological report not only informs us about the strata from which findings originate, but also gives an account of the strata which first had to be broken through.” (Walter Benjamin. Excavation and Memory, ca. 1932. Analog materials are fundamental to my research. As part of my art practice, I tear, cut, rip, fold, and glue together printed images of the masculine performance and the male body to un-masc and reveal its fragility. During the making process what’s usually left behind is a jumble of non-representational refuse—mainly text, backgrounds, and devices used on a page, in a magazine or a book. During the first New Zealand COVID lockdown in 2020, I had limited access to new collage material, apart from a few books left behind in the car. As a result, my attention shifted to the leftovers which otherwise ended up in the recycle bin. These discarded bits illustrated a gendered language, because the material I use was intended for a male audience. It endorsed muscle, size, competing, violence, and whatever else you might expect from the fiction, advertisement, and revealing pages that promote so-called ‘maleness’, like film annuals, muscle magazines, sports, and printed adult magazines among others. Some of these books were donated, many reclaimed from opportunity and recycle shops as they were withdrawn from personal, public, and university libraries. Almost all the book covers used in the project had their own stories imprinted on both sides. These “marks” revealed their origins, recounted their lives, and relayed the strain they had to endure from countless readers, and of course myself! By incorporating printed words from a visual discourse, these new collages demand a reconsideration of text and meaning— they hint, but at the same time complicate the textual decoding process. Sourced from the refuse of a printed culture, these works attempt to reconstruct material and visual culture— a culture consumed by attention seeking and power. They focus on their own materiality, and at the same time, attempt to disrupt order, and reveal their embedded meaning. They reconfigure meaning to recount and re-present themselves. Resurrected, these assembled works are aching to go back to the library shelf and re-enter circulation in a new format. –– “Hard Working Covers” is an ongoing project which brings together 90 one-off handmade analog collages on hardbound book covers and compile them in 300 limited edition concertina books. The foldout format of the publication will reveal not only the front of the works, but also their back(sides).

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