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Artículos de revistas sobre el tema "Fear of the dark – juvenile fiction"

Autor: Grafiati

Publicado: 27 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Thon, Jan-Noel. "Playing with Fear: The Aesthetics of Horror in Recent Indie Games." Eludamos: Journal for Computer Game Culture 10, no. 1 (2020): 197–231. http://dx.doi.org/10.7557/23.6179.

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This article explores the aesthetics of horror that recent indie games offer to their players. Following a general discussion of how the audiovisual, ludic, and narrative aesthetics of indie games relate to the fiction emotions, gameplay emotions, and artifact emotions that these games in general and horror indie games in particular invite their players to experience, the article offers in-depth analyses of Amnesia: The Dark Descent, Neverending Nightmares, Darkwood, and The Forest. These four case studies allow for an extensive reconstruction of the various ways in which indie horror games ar

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2

Sinha, Parthiva. "Liquidation, Malady, Post-existence in Steve Toltz’s Here Goes Nothing." International Journal of English Literature and Social Sciences 7, no. 4 (2022): 104–9. http://dx.doi.org/10.22161/ijels.74.16.

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Here Goes Nothing is a combination of love, fear, and after-life. In this story, the author has tried to combine fiction and humour elements. The entire story has been told by a dead man called Angus Mooney. The book is the continuation of parts of his other two books, A Fraction of the Whole (2008) and Quicksand (2015). All of his books are written with a purpose, such as the fear of death and the fear of life in his previous books, and the fear of criticism from others in Here Goes Nothing. Thus, this is also known to be a dark comedy that represents the scenario of the afterlife. The book h

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3

Laurent, Maria Olivia. "Still: A Screenplay Exploring Death Anxiety - The Fear of Losing a Loved On." K@ta Kita 10, no. 1 (2022): 10–17. http://dx.doi.org/10.9744/katakita.10.1.10-17.

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The fear of death has long plagued people for its unknown implications and the burden of grief that comes with it; however, it is not something that people often acknowledge. This work intends to highlight that fear-related issues should not be understated as trivial negative emotions and need more awareness. Using the death anxiety and protection motivation theories, I discovered that there are hidden conflicts behind death anxiety that people need to address to minimize their symptoms and eventually undergo a successful coping process. The story follows the struggle of Sasha, who initially r

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4

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 (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 ext

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5

Sasala, An. "Panic! Humanity's Cis-Heteronormative Fear of the Transgender Android." Somatechnics 8, no. 1 (2018): 64–78. http://dx.doi.org/10.3366/soma.2018.0237.

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Androids occupy a position of fascination within US pop culture and science fiction television, yet they rarely acknowledge their own experiences of gender. Reading Wendy the entertainment android from Syfy Channel's Dark Matter (2015–2017) as trans*, this article analyzes the material, cultural, and imagined bodies of the android through an intersectional lens of gender, sex, and race. At times, the article slips between different versions of the transgender android, wading through their cinematic representation, theoretical conceptualization, socio-cultural construction, and material reality

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6

KALECİK, Samet. "Revisiting Freud's Uncanny in The Oblong Box of Poe." TranSynergy Journal of Translation, Literature and Linguistics 4, no. 1 (2025): 32–40. https://doi.org/10.5281/zenodo.15543554.

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The short stories of Edgar A. Poe<strong> </strong>elevate fear and tension to the highest level while exploring the dark side of humanity. <em>The Oblong Box</em> (1844) is one of Poe’s gothic stories. The story is about an unfortunate man who attempts to send his wife’s corpse in a pine box to her mother. The text evokes in the reader a sense of ambiguity between life and death as well as a feeling of fear. This fear is a state of uncanny that occurs when things that seem familiar, harmless, and normal become foreign and dangerous in the human consciousness, thus arousing fear. T

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7

Malathi, V. P. "Sufferings and Starvation in Kamala Markandaya’s Nectar in a Sieve." Shanlax International Journal of English 9, no. 3 (2021): 70–73. http://dx.doi.org/10.34293/english.v9i3.3992.

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Kamala Markandaya is one of the best known contemporary Indian novelists. Her novels are remarkable for their range of experience. Her first novel Nectar in a Sieve is set in a village and it examines the hard agricultural life of the south Indian village where industry and modern technology played havoc. Kamala Markandaya occupies a very important position among the women novelist who have made substantial contribution to Indian fiction after the Second World War. Markandaya had not always lived abroad. She was born as Kamala Purnaiya in 1924 in Mysore and she was also a journalist. At some p

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8

Alaghband, Yasaman, Samantha N. Cheeks, Barrett D. Allen, et al. "Neuroprotection of Radiosensitive Juvenile Mice by Ultra-High Dose Rate FLASH Irradiation." Cancers 12, no. 6 (2020): 1671. http://dx.doi.org/10.3390/cancers12061671.

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Major advances in high precision treatment delivery and imaging have greatly improved the tolerance of radiotherapy (RT); however, the selective sparing of normal tissue and the reduction of neurocognitive side effects from radiation-induced toxicities remain significant problems for pediatric patients with brain tumors. While the overall survival of pediatric patients afflicted with medulloblastoma (MB), the most common type primary brain cancer in children, remains high (≥80%), lifelong neurotoxic side-effects are commonplace and adversely impact patients’ quality of life. To circumvent thes

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9

Karim Lazim, Abdul. "Down Deep in the Dark: A Semiotic Approach to Edgar Allan Poe’s the Black Cat." Advances in Language and Literary Studies 9, no. 1 (2018): 53. http://dx.doi.org/10.7575/aiac.alls.v.9n.1p.53.

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Semiotics is the investigation of the nature, type and function of signs in all walks of life. It is the science of interpreting signs and showing how meaning is generated by and through a shared cultural code. Being a verbal corpus of imaginatively works of art, literature with all its genres, i.e. poetry, drama, fiction, the short story, etc. lends itself to semiotics scrutiny. Verbal works of artifact as such can be analyzed in terms of semiotic theory. This paper purports to explore Edgar Allan Poe’ The Black Cat as a structure of interconnected signs which are organically rooted into the

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10

Jassim, Isra Hasan. "Anticipating the Unknown." Al-Adab Journal 1, no. 141 (2022): 13–26. http://dx.doi.org/10.31973/aj.v1i141.3691.

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Human beings have been expect and anticipate the unknown, including wishes, ambition, and the future. At times, the future is imagined as bright and hopeful. At other times, the future is expected to be gloomy and ominous. Therefore, human beings deal with the future with fear and skepticism. These fears are justified given the circumstances in the present, including human conduct in general, the conditions of wars, and environmental changes. Since literature recalls the past and tackles the issues of the present, it also expects what will happen in the future by visioning what the futur

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11

Grönholm, Pertti, and Kimi Kärki. "Avaruudessa konekaan ei kuule huutoasi." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 33, no. 1 (2020): 26–46. http://dx.doi.org/10.23994/lk.91431.

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Artikkelin kirjoittajat tutkivat kolmea tieteiselokuvaa: 2001: Avaruusseikkailu, Pimeä tähti ja Alien – kahdeksas matkustaja, joiden yksi keskeisistä teemoista on älykkään koneen ja ihmisen välinen vuorovaikutus. Kirjoittajat erittelevät elokuvien ihmisten ja koneiden muodostamia suljettuja yhteisöjä, erityisesti keinoälyn ja miehistön suhteita ja dialogia. Kirjoittajat tarkastelevat elokuvia yhtäältä tekijälähtöisesti, keskittyen niiden tulevaisuuskuviin sisältyviin kysymyksiin, varoituksiin ja uhkakuviin sekä toisaalta tarkastelemalla keinoälytematiikkaa suhteessa elokuvien omaan historialli

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12

Laskina, N. O. "Cruel Tales in the Magic Lantern: Traces of Macabre Plots in the Proust’s Novel." Studies in Theory of Literary Plot and Narratology, no. 2 (2024): 25–39. http://dx.doi.org/10.25205/2713-3133-2024-2-25-39.

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French decadent fiction gives in its plots an important place to the transformations of the Gothic tradition: such key texts as Barbey d’Aurevilly’s “She-Devils”, Villiers de LisleAdam’s “Cruel Tales”, Rachilde’s “Mr. Venus” as well as the early novels of J.-K. Huysmans created a specific, type of macabre narrative, essentially different from the romantic gothic fiction. The article shows how Proust’s poetics, consciously aimed at completing and overcoming the fin de siècle culture, uses allusions to popular themes of the decadent Gothic – danse of the dead, automatons, female captives, demoni

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13

Veldwachter, Nadège. "Blackness, Coloniality, and Gender in the Liberation of Occupied France." Shofar: An Interdisciplinary Journal of Jewish Studies 43, no. 1 (2025): 178–204. https://doi.org/10.1353/sho.2025.a961756.

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Abstract: This article will examine the experiences of French colonial women actively engaged in acts of resistance against historical erasure and political oppression during and after the Second World War. The first part of the article looks at the role of literature as a symbol of the intersection where politics, history and fiction converge to interrogate the negotiation between slave and Holocaust narratives. By establishing a certain degree of contiguity between slavery and the Holocaust, Caribbean authors encourage us to reconsider the epistemological correspondences and distinctions tha

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14

Alsaedi, Shaima Muzher Abid Alreda. "Dystopian Reality in Frankenstein in Baghdad a novel by Ahmed Saadawi." Al-Adab Journal, no. 133 (June 15, 2020): 7–22. http://dx.doi.org/10.31973/aj.v0i133.606.

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Dystopian literature is important in old and modern literature. It depicts a world in which everything is imperfect, chaotic and distorted. It shows a nightmarish image yet it is true in some afflicted communities. It mainly deals with war, oppression and disastrous situations. Almost all the characteristics of dystopian literature are real in Ahmed Saadawi’s novel Frankenstein in Baghdad. These characteristics are real and tangible in the place where the events of the novel occurred. These characteristics are manifested in people’s fear from the government, the American troops and terrorism a

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15

Koban, Haydar Jabr, and Taif Abdulhussein Dakhil. "Gothic complex spectrality in Emily Bronte's wuthering heights." International journal of health sciences, May 1, 2022. http://dx.doi.org/10.53730/ijhs.v6ns4.6850.

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Gothic literature in general and Gothic fiction, in particular, can be defined as a literary piece of writing that uses dark scenery and a whole atmosphere of exoticism, mystery, fear, and terror. This paper aims to explore the elements of Gothic complex spectrality in Emily Bronte's Wuthering Heights (1847). The novel, known for being one of the greatest love stories ever published, explored many Gothic elements that added a sense of fear and terror to its plot. The Gothic factors were not traditional or similar to other Gothic fiction, even though Brontë was greatly influenced by Gothic fict

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16

Prieto Stambaugh, Antonio. "La performa extraña de la ciencia ficción chicana." Investigación Teatral. Revista de artes escénicas y performatividad 14, no. 24 (2023). http://dx.doi.org/10.25009/it.v14i24.2750.

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Este artículo aborda el imaginario de ciencia ficción en obras de teatro y performance realizadas por El Teatro Campesino, el grupo chicano Asco y el grupo La Pocha Nostra, los cuales se valieron de los tropos del robot y el extraterrestre para cuestionar el miedo que genera en la sociedad dominante un grupo social visto como extranjero y amenazante, integrado por “illegal aliens”. Sus obras ponen en escena performas extrañas que materializan la otredad mediante personajes distópicos que juegan con los estereotipos del latinoamericano invasor. El robot y alienígena extraterrestre sirven para a

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Tan, Maria. "Noni Speaks up by H. Hartt-Sussman." Deakin Review of Children's Literature 6, no. 3 (2017). http://dx.doi.org/10.20361/g2260b.

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Hartt-Sussman, Heather. Noni speaks up. Tundra Books, 2016.Nominated for the Ontario Library Association’s Blue Spruce Award, Noni speaks up is the third book in the Noni series by Toronto-based children’s picture book author, Heather Hartt-Sussman, and acclaimed illustrator Geneviève Côté.When Noni sees Hector being bullied by other kids at school, and is encouraged by her friends to join in, she is unable to speak up; Noni is paralyzed by fear of making enemies if she stands up for her schoolmate. Noni feels bad for not defending Hector, but is uncertain about what to do.During a restless ni

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18

van Staden, Cailin, Karin Finger-Baier, David Weinshenker, Tarryn L. Botha, Linda Brand, and De Wet Wolmarans. "The number of conspecific alarm substance donors notably influences the behavioural responses of zebrafish subjected to a traumatic stress procedure." Fish Physiology and Biochemistry 51, no. 2 (2025). https://doi.org/10.1007/s10695-025-01468-0.

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Abstract Zebrafish (Danio rerio) represents a complementary pre-clinical model in stress and anxiety research. Conspecific alarm substance (CAS), an alarm pheromone secreted by injured fish, acts as a warning signal and modulates fear responses. Given their schooling nature and that injury precedes CAS release, varying fresh CAS concentrations extracted from different numbers of CAS-donating zebrafish may uniquely influence trauma-related behaviours. Thus, we investigated the behaviour of juvenile and adult zebrafish exposed to traumatic stress protocols, in the presence of CAS extracted from

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19

Brammer, Rebekah. "Dark Laughs." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3152.

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Introduction: From Classic Noir Parody to Aussie Comedy Noir However you choose to identify noir – as a genre, style, or cycle – over its 80 years from classic American film noir to neo-noir, neon-noir, national noirs, and television noir, it has undeniably seeped into popular culture. Exemplary of this is the way noir has hybridised with other genres and styles, true of comedy as much as its more serious pairings with science fiction, Western, and Gothic. This is not a new phenomenon: Sue Short points out that pastiche noir began appearing at the end of the classic cycle, citing Kiss Me Deadl

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20

Kimberley, Maree. "Neuroscience and Young Adult Fiction: A Recipe for Trouble?" M/C Journal 14, no. 3 (2011). http://dx.doi.org/10.5204/mcj.371.

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Historically, science and medicine have been a great source of inspiration for fiction writers. Mary Shelley, in the 1831 introduction to her novel Frankenstein said she was been inspired, in part, by discussions about scientific experiments, including those of Darwin and Galvani. Shelley states “perhaps a corpse would be re-animated; galvanism had given token of such things: perhaps the component parts of a creature might be manufactured, brought together, and endued with vital warmth” (10). Countless other authors have followed her lead, from H.G. Wells, whose mad scientist Dr Moreau takes a

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21

Mercer, Erin. "“A deluge of shrieking unreason”: Supernaturalism and Settlement in New Zealand Gothic Fiction." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.846.

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Like any genre or mode, the Gothic is malleable, changing according to time and place. This is particularly apparent when what is considered Gothic in one era is compared with that of another. The giant helmet that falls from the sky in Horace Walpole’s Castle of Otranto (1764) is a very different threat to the ravenous vampires that stalk the novels of Anne Rice, just as Ann Radcliffe’s animated portraits may not inspire anxiety for a contemporary reader of Stephen King. The mutability of Gothic is also apparent across various versions of national Gothic that have emerged, with the specificit

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Masson, Sophie Veronique. "Fairy Tale Transformation: The Pied Piper Theme in Australian Fiction." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1116.

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The traditional German tale of the Pied Piper of Hamelin inhabits an ambiguous narrative borderland, a liminal space between fact and fiction, fantasy and horror, concrete details and elusive mystery. In his study of the Pied Piper in Tradition and Innovation in Folk Literature, Wolfgang Mieder describes how manuscripts and other evidence appear to confirm the historical base of the story. Precise details from a fifteenth-century manuscript, based on earlier sources, specify that in 1284 on the 26th of June, the feast-day of Saints John and Paul, 130 children from Hamelin were led away by a pi

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23

Green, Lelia, and Carmen Guinery. "Harry Potter and the Fan Fiction Phenomenon." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2442.

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The Harry Potter (HP) Fan Fiction (FF) phenomenon offers an opportunity to explore the nature of fame and the work of fans (including the second author, a participant observer) in creating and circulating cultural products within fan communities. Matt Hills comments (xi) that “fandom is not simply a ‘thing’ that can be picked over analytically. It is also always performative; by which I mean that it is an identity which is (dis-)claimed, and which performs cultural work”. This paper explores the cultural work of fandom in relation to FF and fame. The global HP phenomenon – in which FF lists ar

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24

Franks, Rachel. "A Taste for Murder: The Curious Case of Crime Fiction." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.770.

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Introduction Crime fiction is one of the world’s most popular genres. Indeed, it has been estimated that as many as one in every three new novels, published in English, is classified within the crime fiction category (Knight xi). These new entrants to the market are forced to jostle for space on bookstore and library shelves with reprints of classic crime novels; such works placed in, often fierce, competition against their contemporaries as well as many of their predecessors. Raymond Chandler, in his well-known essay The Simple Art of Murder, noted Ernest Hemingway’s observation that “the goo

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Comerford, Chris, and Tracey Woolrych. "Becoming the Shadows." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3142.

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Introduction The dark silhouette of Batman (Robert Pattinson) emerges from the shadows on a rainy night, confronting a gang at a train station. One of their members asks, “what the hell are you supposed to be?”, before moving to attack. Batman quickly disarms the gang member, but in contrast to many of the character’s incarnations – on the screen and the comic book page – who would knock the criminal out before moving on, this Batman pummels the gang member even after he’s been knocked to the ground. With a throaty growl Batman responds, “I’m vengeance”, then proceeds to violently assault the

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Vasques Vital, Andre, and Mariza Pinheiro Bezerra. "Climate Change as Dark Magic in <em>Miraculous: Tales of Ladybug & Cat Noir</em> Animation." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2990.

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Animations, in their various genres, are an important amalgamation of art and technology that suggest new ways of thinking, feeling, and experiencing contemporary issues (Wells; Whitley). Animations can provide a commentary on the current planetary crisis, such as climate change, by offering a radically altered reality (Lundberg et al. 9). In the case of environmental animations, these issues become more evident because at their core is the production of knowledge, subjectivities, and speculations about the future of the planet and humanity. These problematisations usually arise from the centr

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Rumble, Rhiannon. "Mycelial Mutations." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3172.

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Introduction Over the last decade, fungi have increasingly appeared in popular culture. Non-fiction texts, such as Melvin Sheldrake’s Entangled Lives (2020) and Doug Bierend’s Mycotopia (2021), illuminate some of the hidden lives of fungi and explore how we could utilise fungi, from sustainable myco-culture to building materials, and models of fungal communities. In turn, this emerging mycological knowledge inspires fiction exploring intersections of human and fungi, including M.R. Carey’s The Girl with all the Gifts (2014) and David Koepp’s Cold Storage (2019). Heightened interest in the pote

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Bond, Sue. "Heavy Baggage: Illegitimacy and the Adoptee." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.876.

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Teichman notes in her study of illegitimacy that “the point of the legitimate/illegitimate distinction is not to cause suffering; rather, it has to do with certain widespread human aims connected with the regulation of sexual activities and of population” (4). She also writes that, until relatively recently, “the shame of being an unmarried mother was the worst possible shame a woman could suffer” (119). Hence the secrecy, silences, and lies that used to be so common around the issue of an illegitimate birth and adoption.I was adopted at birth in the mid-1960s in New Zealand because my mother

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Campbell, Sian Petronella. "On the Record: Time and The Self as Data in Contemporary Autofiction." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1604.

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In January of this year, artist Christian Marclay’s 24-hour video installation The Clock came to Melbourne. As Ben Lerner explains in 10:04, the autofictional novel Lerner published in 2014, The Clock by Christian Marclay “is a clock: it is a twenty-four hour montage of thousands of scenes from movies and a few from TV edited together so as to be shown in real time; each scene indicates the time with a shot of a timepiece or its mention in dialogue, time in and outside of the film is synchronized” (52). I went to see The Clock at ACMI several times, with friends and alone, in the early morning

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Joseph, Kaela. "Gays Burying Ourselves." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3140.

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Introduction Jane Schoenbrun’s I Saw the TV Glow (ISTTVG) is a psychological science fiction/horror film which draws upon audiences’ associations between serialised television and queer identity development to ask a terrifying question: would you bury yourself alive to solve the mystery of a parallel life not yet lived? The film is an allegory for queer experiences of internalised heteronormativity and concealment in which the villain is not the typical monster of the week, but our own selves, suffocating under the mundanity of surroundings we have yet to break free from. Neon noir elements ar

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Rocavert, Carla. "Aspiring to the Creative Class: Reality Television and the Role of the Mentor." M/C Journal 19, no. 2 (2016). http://dx.doi.org/10.5204/mcj.1086.

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Introduction Mentors play a role in real life, just as they do in fiction. They also feature in reality television, which sits somewhere between the two. In fiction, mentors contribute to the narrative arc by providing guidance and assistance (Vogler 12) to a mentee in his or her life or professional pursuits. These exchanges are usually characterized by reciprocity, the need for mutual recognition (Gadamer 353) and involve some kind of moral question. They dramatise the possibilities of mentoring in reality, to provide us with a greater understanding of the world, and our human interaction wi

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Nile, Richard. "Post Memory Violence." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1613.

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Hundreds of thousands of Australian children were born in the shadow of the Great War, fathered by men who had enlisted between 1914 and 1918. Their lives could be and often were hard and unhappy, as Anzac historian Alistair Thomson observed of his father’s childhood in the 1920s and 1930s. David Thomson was son of a returned serviceman Hector Thomson who spent much of his adult life in and out of repatriation hospitals (257-259) and whose memory was subsequently expunged from Thomson family stories (299-267). These children of trauma fit within a pattern suggested by Marianne Hirsch in her in

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Williams, Marisa. "Going Underground." M/C Journal 5, no. 2 (2002). http://dx.doi.org/10.5204/mcj.1953.

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In The Practice of Everyday Life, Walking in the City, Michel de Certeau celebrates the glorious sublimity of an Icarian moment as his gaze from the 110th floor of the World Trade Centre soars over Manhattan. Having taken such a voluptuous pleasure (92) in the view myself, and watched the twin towers collapse into rubble on my television screen last September, as I re-visit the aerial site through de Certeau, his words resonate strongly with the oneiric force of memory, myth and the wonder of urban possibility. For while theorising, does de Certeau not write his own story of the city as dream,

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Bode, Lisa. "Digital Doppelgängers." M/C Journal 8, no. 3 (2005). http://dx.doi.org/10.5204/mcj.2369.

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   The doppelgänger (literally ‘double-goer’) of 18th and 19th century European literature and lore is a sinister likeness that dogs and shadows a protagonist heralding their death or descent into madness – a ‘spectral presentiment of disaster’ (Schwartz 84). Recently the term ‘digital doppelgänger’ has been adopted by the English-speaking entertainment and technology press to refer to a digital image of an actor or performer; whether that image is a computer-generated wire-frame model, an amalgamation of old film footage and artistry, or a three dimensional laser scan of the

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Vella Bonavita, Helen, and Lelia Green. "Illegitimate." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.924.

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Illegitimacy is a multifaceted concept, powerful because it has the ability to define both itself and its antithesis; what it is not. The first three definitions of the word “illegitimate” in the Oxford English Dictionary – to use an illegitimate academic source – begin with that negative: “illegitimate” is “not legitimate’, ‘not in accordance with or authorised by law”, “not born in lawful wedlock”. In fact, the OED offers eight different usages of the term “illegitimate”, all of which rely on the negation or absence of the legitimate counterpart to provide a definition. In other words, somet

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李, 豐楙. "故縱之嫌：《西遊記》的召唤土地與鬼律叙述". 人文中國學報, 1 грудня 2016, 127–69. http://dx.doi.org/10.24112/sinohumanitas.232110.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English. 在西遊叙述中，神魔鬥法前時常出現的，就是孫行者頻繁召唤土地，方能問明妖精、妖魔的出處，其頻率極高而關注者卻少，原因就是土地神僅被視爲陪襯性小神。世德堂本（以下簡稱世本）叙述其出場的方式及用意，作者其實交互使用兩種聲音：顯聲音即表現滑稽性的遊戲筆調，目的即在掩飾其真正的潛聲音，主要即借此諷喻、影射當世。這種文學旨趣在兩種聲音間交織，若隱若現，亟待解讀。世本寫定者雖曾吸收先行材料，但本身自有其創意所在，即化用當時道、佛二教的文化資源。這一點學界雖有關注者，此處即針對“召唤土地”情節，詳細解讀其使用的手法，認爲其背後皆有宗教、尤其道教知識的支持。運用從淺到深的叙述層次，其顯聲音即召唤土地的方式，軟硬兼用，從唤出到拘得，形成表面的叙述趣味；而關鍵的召唤叙述，也是簡繁俱有的捻訣、唸真言，從唵字到唵㘕淨法界，按照當時的宗教文化的理解，即採用明代流行於文人間的準提信仰，致使作者挪用密教準提咒，並未襲用道教的召土地神咒。最值得注意的是召唤過程，叙寫行者對待土地、山神的使唤態度，而相對地，土地、山神則表現惶恐的滑稽表情。這種顯話語背後隱藏作者的潛話語，即運用“縱放之嫌”的叙述筆法，首即化用道教的鬼律、黑律知識，規範城隍———土地：境内凡有精邪而未能通告者

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Mayo, Sherry. "NXT Space for Visual Thinking." M/C Journal 1, no. 4 (1998). http://dx.doi.org/10.5204/mcj.1722.

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"Space, the limitless area in which all things exist and move." -- Merriam-Webster Dictionary(658) Can we determine our point in time and space at this moment of pre-millennium anticipation? The evolution of our visualisation of space as a culture is shifting and entering the critical consciousness of our global village. The infinite expansion of space's parameters, definitions and visualisation remains the next frontier -- not only for NASA, but for visual culture. Benjamin's vision of loss of the aura of originality through reproduction has come to pass, so has the concept of McLuhan's globa

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Thompson, Jay Daniel, and Erin Reardon. "“Mommy Killed Him”: Gender, Family, and History in Wes Craven’s A Nightmare on Elm Street (1984)." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1281.

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Introduction Nancy Thompson (Heather Langekamp) is one angry teenager. She’s just discovered that her mother Marge (Ronee Blakley) knows about Freddy Krueger (Robert Englund), the strange man with the burnt flesh and the switchblade fingers who’s been killing her friends in their dreams. Marge insists that there’s nothing to worry about. “He’s dead, honey,” Marge assures her daughter, “because mommy killed him.” This now-famous line neatly encapsulates the gender politics of Wes Craven’s A Nightmare on Elm Street (1984). We argue that in order to fully understand how gender operates in Nightma

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Starrs, Bruno. "Writing Indigenous Vampires: Aboriginal Gothic or Aboriginal Fantastic?" M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.834.

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The usual postmodern suspicions about diligently deciphering authorial intent or stridently seeking fixed meaning/s and/or binary distinctions in an artistic work aside, this self-indulgent essay pushes the boundaries regarding normative academic research, for it focusses on my own (minimally celebrated) published creative writing’s status as a literary innovation. Dedicated to illuminating some of the less common denominators at play in Australian horror, my paper recalls the creative writing process involved when I set upon the (arrogant?) goal of creating a new genre of creative writing: th

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Dewsbury, John-David. "Still: 'No Man's Land' or Never Suspend the Question." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.134.

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“Say a body. Where none. No mind. Where none. That at least. A place. Where none. For the body. To be in. Move in. Out of. Back into. No out. No back. Only in. Stay in. On in. Still” (Beckett, Short Fiction 471). 1. Introduction – Wherefore to ‘still’?HIRST: As it is?SPOONER: As it is, yes please, absolutely as it is (Pinter, 1971-1981 77). These first lines of Harold Pinter’s play No Man’s Land are indeed the first lines: they were the first lines that came to Pinter, existing as the spark that drove the play into being. Pinter overhead the words ‘As it is’ whilst in a taxi cab and was struck

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Coull, Kim. "Secret Fatalities and Liminalities: Translating the Pre-Verbal Trauma and Cellular Memory of Late Discovery Adoptee Illegitimacy." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.892.

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I was born illegitimate. Born on an existential precipice. My unwed mother was 36 years old when she relinquished me. I was the fourth baby she was required to give away. After I emerged blood stained and blue tinged – abject, liminal – not only did the nurses refuse me my mother’s touch, I also lost the sound of her voice. Her smell. Her heart beat. Her taste. Her gaze. The silence was multi-sensory. When they told her I was dead, I also lost, within her memory and imagination, my life. I was adopted soon after but not told for over four decades. It was too shameful for even me to know. Impri

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Sedzielarz, Aleksander, and Meiru Liu. "“I felt the borders of my self blur”." M/C Journal 27, no. 6 (2024). http://dx.doi.org/10.5204/mcj.3124.

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Introduction The 2022 video games Signalis and Citizen Sleeper invite players into artificial bodies and worlds. In both, gameplay prompts reflection on how artificiality induces integration between self and world, while also illuminating experiential awareness through features of gameplay and game environment that show the player and game as part of an ongoing process of mutual construction of self. This article first discusses how incorporation into artificiality has gradually become a central focus in video game studies as a condition of intellectual reflection, emotional response, and the

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Burns, Alex. "'This Machine Is Obsolete'." M/C Journal 2, no. 8 (1999). http://dx.doi.org/10.5204/mcj.1805.

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'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as

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McDonald, Donna. "Shattering the Hearing Wall." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.52.

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She leant lazily across the picnic hamper and reached for my hearing aid in my open-palmed hand. I jerked away from her, batting her hand away from mine. The glare of the summer sun blinded me. I struck empty air. Her tendril-fingers seized the beige seashell curve of my hearing aid and she lifted the cargo of sound towards her eyes. She peered at the empty battery-cage before flicking it open and shut as if it was a cigarette lighter, as if she could spark hearing-life into this trick of plastic and metal that held no meaning outside of my ear. I stared at her. A band of horror tightened arou

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Neilsen, Philip. "An extract from "The Internet of Love"." M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.2012.

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There are three stages in internet dating: first, the emailing back and forth; second, the phone conversation; and third, the meeting for 'coffee'. But before we discuss the three stages, here are some hints about the preliminary work you have to do. At the outset, you have to trawl through the thousands of people who have placed their profiles on the site. This is aided by limiting your search to a certain age spread, and your city or region. Then you can narrow it down further by checking educational background, whether they have kids, whether they write in New Age jargon, etc You have to tr

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Bellanta, Melissa. "Voting for Pleasure, Or a View from a Victorian Theatre Gallery." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2715.

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   Imagine this historical scene, if you will. It is 1892, and you are up in the gallery at Her Majesty’s Theatre in Sydney, taking in an English burlesque. The people around you have just found out that Alice Leamar will not be performing her famed turn in Ta-ra-ra-boom-de-ay tonight, a high-kicking Can-Canesque number, very much the dance du jour. Your fellow audience members are none too pleased about this – they are shouting, and stamping the heels of their boots so loudly the whole theatre resounds with the noise. Most people in the expensive seats below look up in the d

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Bellanta, Melissa. "Voting for Pleasure, Or a View from a Victorian Theatre Gallery." M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.22.

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Imagine this historical scene, if you will. It is 1892, and you are up in the gallery at Her Majesty’s Theatre in Sydney, taking in an English burlesque. The people around you have just found out that Alice Leamar will not be performing her famed turn in Ta-ra-ra-boom-de-ay tonight, a high-kicking Can-Canesque number, very much the dance du jour. Your fellow audience members are none too pleased about this – they are shouting, and stamping the heels of their boots so loudly the whole theatre resounds with the noise. Most people in the expensive seats below look up in the direction of the galle

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48

Rattray, Chloe T., and Katie Ellis. ""I Love Every Part of You"." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2997.

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Introduction The Owl House is an animated television series that aired on the Disney Channel from 2020 to 2023. The series follows Luz, a teenage Dominican-American human who finds a portal to the Demon Realm. She lands on the Boiling Isles, an island archipelago populated with magical creatures. There, Luz befriends a middle-aged witch named Edalyn “Eda” Clawthorne (also known as Eda the Owl Lady), and her housemate/adoptive son King, a cute dog-like demon with a skull for a head. Eda agrees to teach Luz magic. Magic is then used as a narrative prosthesis (McReynolds) to explore themes of inc

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Hawkins, Katharine. "Monsters in the Attic: Women’s Rage and the Gothic." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1499.

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The Gothic is not always suited to women’s emancipation, but it is very well suited to women’s anger, and all other instances of what Barbara Creed (3) would refer to as ‘abject’ femininity: excessive, uncanny and uncontained instances that disturb patriarchal norms of womanhood. This article asserts that the conventions of the Gothic genre are well suited to expressions of women’s rage; invoking Sarah Ahmed’s work on the discomforting presence of the kill-joy in order to explore how the often-alienating processes of uncensored female anger coincide with contemporary notions of the Monstrous F

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Quinn, Karina. "The Body That Read the Laugh: Cixous, Kristeva, and Mothers Writing Mothers." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.492.

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The first time I read Hélène Cixous’s The Laugh of the Medusa I swooned. I wanted to write the whole thing out, large, and black, and pin it across an entire wall. I was 32 and vulnerable around polemic texts (I was always copying out quotes and sticking them to my walls, trying to hold onto meaning, unable to let the writing I read slip out and away). You must "write your self, your body must be heard" (Cixous 880), I read, as if for the hundredth time, even though it was the first. Those decades old words had an echoing, a resonance to them, as if each person who had read them had left their

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