Bibliografías temáticas / Fictional trilogy

Literatura académica sobre el tema "Fictional trilogy"

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Publicado: 2 de julio de 2022

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  1. Artículos de revistas
  2. Tesis
  3. Libros
  4. Capítulos de libros
  5. Actas de conferencias

Artículos de revistas sobre el tema "Fictional trilogy":

1

Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA". Jurnal POETIKA 5, n.º 1 (31 de julio de 2017): 37. http://dx.doi.org/10.22146/poetika.25810.

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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
2

Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA". Poetika 5, n.º 1 (31 de julio de 2017): 36. http://dx.doi.org/10.22146/poetika.v5i1.25810.

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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
3

Kostova – Panayotova, Magdalena. "Danilo Kish's Fictional Self аnd the Father's Figure („Garden. Ashes“ and „Hourglass“)". Balkanistic Forum 30, n.º 3 (5 de octubre de 2021): 262–72. http://dx.doi.org/10.37708/bf.swu.v30i3.14.

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The article examines two novels from the trilogy of Danilo Kish ("Early Care", "Garden, ashes" and the Hourglass) - a writer and essayist, the descendant of a Hungarian Jew and a Montenegrin mother. Both in his novels and in his essays and short stories, the centre of many cultures and identities, a follower of Kafka, Joyce, the Tick and whose main themes always carry the shade of nostalgia, the marks of the vanished world, which is experienced as the only thing dear to the artist. The theme of the disappearing world of Hungarian Jews is told from three different points of view in the trilogy. For the unfortified Self in the trilogy, the disappearance of the father is connected with the wavering of the identity, with the search for grounds for the very existence. From the narration of horror, the apocalyptic crack of life and meaning, the lurking death that transcends everything because it is finality. But amid the devastation and doubt of the written word, there remains the hope that the story provokes the reader, outlining the space and giving meaning to pain, sacrifice and death.
4

Wehling-Giorgi, Katrin. "“Splendid Little Pictures”: Leibnizian Terminology in the Works of Samuel Beckett and Carlo Emilio Gadda". Samuel Beckett Today / Aujourd'hui 22, n.º 1 (1 de octubre de 2010): 341–54. http://dx.doi.org/10.1163/18757405-022001024.

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Monadic spaces inhabit a significant number of both Beckett's and Gadda's narrative spaces. The refashioning and distortion of the Leibnizian concept of the monad in their oeuvres brings to light some essential features of both authors' critique of the traditional, unitary notion of the self. Indeed, the divergences which transpire in the reinterpretation of the rationalist concept of individual substance reveal a fascinating parallel relating to the fragmentation of subjectivity in both authors' writings. In this context, particular attention will be given to Gadda's early theoretical and fictional writings and Beckett's fiction up to the French Trilogy.
5

Kornacki, Krzysztof. "Tworzenie obrazu przeszłości w trylogii robotniczej Andrzeja Wajdy". Przestrzenie Teorii, n.º 27 (15 de diciembre de 2017): 77–92. http://dx.doi.org/10.14746/pt.2017.27.8.

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Observing the process of the birth of Man of Marble – Man of Iron – Wałęsa. Man of Hope trilogy we can clearly see the author’s increasing tendency to render movie fiction real, in the sense that fiction should be treated as reality, as its equivalent. In the two first films in the trilogy, what is visible is the intensified blurring of the lines between fiction and reality, substituting what is fact with something concocted. What we can also see here is a tendency to boost the credibility of a fictional story, thanks to the use of conventions and documentary materials. Gradual changes made in the sphere of art were connected with the director’s public activities, in which he gradually crossed the boundaries not only of social, but also political praxis. Moreover, in creating the trilogy we can see a voluntaristic trend to perceive the past as the history of “great men” and to canonize the glorious image of history. All these tendencies were expressed in the latter work. Wajda completed this as a clear response to political moves by certain politicians and historians attacking Wałęsa. Preparing a movie about him, he approached verification of historical data with a single-minded attitude. Thus in this film we can observe “true fabrications”. Wałęsa pervades the story, and there is no room for other important figures in the historical process. Additionally, in order to create an imagined, idealistic image of Wałęsa (“Wałęsa 2.0”), the actor playing this role “expels him” from the archive material.
6

Major, Laura. "Fictional Crimes/Historical Crimes: Genre and Character in Philip Kerr’s Berlin Noir Trilogy". Genealogy 3, n.º 4 (14 de noviembre de 2019): 60. http://dx.doi.org/10.3390/genealogy3040060.

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This paper will explore Philip Kerr’s Berlin Noir trilogy, composed of March Violets (1989), The Pale Criminal (1990), and A German Requiem (1991), discussing the overlap and blurring of generic boundaries in these novels and the ability of this form to reckon with the Holocaust. These detective stories are not directly about the Holocaust, and although the crimes investigated by the mordant Bernie Gunther are fictional, they are interweaved with the greater crimes committed daily by the Nazi Party. The novels are brutally realistic, violent, bleak, and harsh, in a narrative style highly appropriate for crime novels set in Nazi Germany. Indeed, with our knowledge of the enormity of the Nazi crimes, the violence in the novels seems not gratuitous but reflective of the era. Bernie Gunther himself, who is both hard-boiled protagonist and narrator, is a deeply flawed human, even an anti-hero, but in Berlin, which is “alive” as a character in these novels, his insights, cloaked in irony and sarcasm, highlight the struggle to resist, even passively, even just inside one’s own mind, the current of Nazism. Although many representations of the Holocaust in popular fiction strive towards the “feel good” story within the story, Kerr’s morally and generically ambiguous novels never give in to this urge, and the solution of the crime is never redemptive. The darkness of these novels, paired with the popularity of crime fiction, make for a significant vehicle for representing the milieu in which the Holocaust was able to occur.
7

Tóth, Zsuzsanna. "Mirror-Images, or Love As Religion in Philip Pullman’s Trilogy, His Dark Materials". Romanian Journal of English Studies 10, n.º 1 (1 de marzo de 2013): 293–301. http://dx.doi.org/10.2478/rjes-2013-0028.

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Abstract Philip Pullman retells mankind’s archetypal memories of the Fall in his fantasy trilogy, His Dark Materials. I aim to prove that the age-old religious desire for the oneness of the sacred and the profane, as well as of spirit and matter is manifested in Pullman’s fictional mythology in a way that religion and love also turn out to be one.
8

Bender, Elżbieta. "La raíz rota de Arturo Barea: destiempo ficcionalizado y autobiografía figurada". Estudios Hispánicos 26 (15 de noviembre de 2018): 17–26. http://dx.doi.org/10.19195/2084-2546.26.3.

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Arturo Barea’s The Broken Root: fictional destiempo and imagined autobiographyThe Broken Root by Arturo Barea — a novel in which the author imagines the return to his homeland after ten years in exile — is considered a fictional continuation of the famous autobiographical trilogy The Forging of a Rebel. The analysis of The Broken Root and the knowledge of Barea’s biography allow for the observation that in the novel the so-called destiempo, that is the sense of strangeness experienced by the migrants returning home, is fictional. The protagonist — Antolin — a persona inspired by the writer himself, allows the author to “experience”, or actually to imagine his meeting with the family that remained in Spain. In this way he creates a hypothetical / imagined autobiography that helps him overcome the longing for homeland and the sense of guilt over abandoning the family. The events are fictional, yet probable, but the feelings expressed by the protagonist seem to reflect the real feelings of the author.
9

Lytvyn, O. M. "FICTIONAL PECULIARITIES OF VSEVOLOD NESTAIKO’S PROSE FOR CHILDREN (ON THE BASIS OF THE NOVEL “TOREADORY Z VASIUKIVKY”)". PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, n.º 2(54) (22 de enero de 2019): 439–46. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-439-446.

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The article examines the issue of peculiarities of the authorial style. The principal attention is focused on compositional, landscape, pedagogic characteristics. The problem of creating images in the trilogy by Vsevolod Nestaiko takes an important place.
10

Cruz, Talita Mochiute. "Coetzee lendo Beckett". Eutomia 1, n.º 20 (19 de febrero de 2018): 92. http://dx.doi.org/10.19134/eutomia-v1i20p92-99.

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Este artigo discute brevemente como J.M. Coetzee em seus textos críticos lê a obra de Samuel Beckett, a fim de refletir a respeito do trânsito entre o trabalho ficcional e acadêmico desse escritor sul-africano. Ao percorrer a visão de Coetzee crítico, pretende-se situar o lugar de Beckett na trilogia coetzeeana Cenas da vida na província, principalmente para a constituição da(s) voz(es) narrativa nesse projeto autobiográfico ficcionalizado.Palavras-chave: J.M. Coetzee; Samuel Beckett; romance contemporâneo; voz narrativa; literatura comparada. Abstract: This article briefly discusses how J. Coetzee in his critical texts reads the work of Samuel Beckett in order to reflect on the relations between the fictional and academic work of this South African writer. In going through the critical vision of Coetzee, it is aimed to situate Beckett's place in Coetzeean trilogy, Scenes from Provincial Life, mainly for the constitution of the narrative voice(s) in this fictionalized autobiographical project.Keywords: J.M. Coetzee; Samuel Beckett; contemporary novel; narrative voice; comparative literature.
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Artículos de revistas Tesis Libros

Tesis sobre el tema "Fictional trilogy":

1

McCracken, David E. "The Great Plains trilogy. Book one, These God-forsaken lands. Part one (of three), Wayward horse". Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391232.

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This is the first of three parts in the first of three planned novels, collectively called The Great Plains Trilogy, which takes place between 1841 and 1845. Set against such historical events as the Battle of Plum Creek and the Texas Council House Fight, Part One follows Lock (a.k.a. Aidan Plainfield) in 1841, whose wife and daughter were killed by Comanches during the Victoria raid of 1840. Since the raid, Lock has left his life behind, surviving alone in the Great Plains. One morning he discovers that Comanches have stolen his horse, and he sets off to recover it. Along the way, he meets Mr. Pendleton, an Englishman who has been injured by Comanches, and Raymond Wales, a thief who has been mysteriously left to hang in the middle of the woods. Mr. Pendleton and Raymond Wales, each of whom have their own mysterious motivations, join Lock on his journey.
Department of English
2

Wright, Kenneth Patrick. "The Law and Its Enforcers in Faulkner's Trilogy". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501260/.

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This thesis evaluates how effectively the trilogy's laws and law enforcers further the ends of the fictional laws. The study examines the trilogy's law enforcers' responses to Snopes violations and bendings of the laws to evaluate the laws and their enforcers. The enforcers' responses to Snopes wrongs make clear how well the laws are written. These responses also reveal how well the enforcers themselves are able to achieve the objectives of the laws. It is argued in the thesis that although the laws are effectively written, the law enforcers fail to enforce the laws and, consequently, fail to achieve the laws' ends. It is also shown that the enforcers invariably harm innocent persons when they fail to enforce the law.
3

Dobianer, Nicole S. "Auto-fiction and identity in Esther Tusquets' trilogy". Thesis, University of Kent, 2013. https://kar.kent.ac.uk/55458/.

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This thesis investigates personal development and identity formation in Esther Tusquets and the female protagonists in her trilogy, composed of El mismo mar de todos los veranos (EMM) (1978), El amor es un juego solitario (AJS) (1979) and Varada tras el último naufragio (VUN) (1980). Recent autobiographic publications had made it possible to shed light on the author behind the literature and had provided indications that supported a hypothesis of life influencing literature. This thesis approaches the question of identity formation primarily through the female protagonists in the trilogy. Their emotional and sexual development, analysed in Chapter 2 and 3, is seen as indicatory of a similar developmental path taken by Tusquets. Chapter 2 and 3 therefore focus on the protagonists’ identity development in emotional and sexual terms and elicit further parallels that exist between the literary plot and the author’s life by complementing the analysis with a conceptual background on autobiography, auto-fiction and psychoanalysis in women’s development. The backdrop of auto-fiction suggested that textual analysis of Tusquets’ autobiographic literature should also allow for a margin of scepticism regarding the reliability of its content. The conclusions derived from Chapters 2 and 3, were seen as paramount because they allowed for putting the later analysis of the author on issues, such as love, sex, motherhood, career, solidarity, individuality and independence, into context. The objective of Chapter 4 was to extract Tusquets’ perspective on womanhood and identity put forward in the trilogy. To do so, her definition of femininity, evidenced by her autobiographic works and her novels, was analysed against the backdrop of patriarchal history, thought and theory provided by Marilyn French, Kate Millett and Gerda Lerner. All this led to a conclusive portrait about Esther Tusquets’, her identity and development in regards to womanhood, as well as, a renewed analysis of her protagonists and their identity formation process.
4

Kneale, James Robert. "Lost in space? : readers' constructions of science fiction worlds". Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309071.

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Graf, Stephen. "Necessary Fictions : Nietzsche, Anti-Philosophy and Violence in Samuel Beckett's Trilogy". Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519471.

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6

Gui, Lihua. "Robertson Davies's innovative use of the trilogy form in his fiction". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0004/NQ35168.pdf.

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7

Bagnall, Imogen. "Afrofuturism and Generational Trauma in N. K. Jemisin‘s Broken Earth Trilogy". Thesis, Stockholms universitet, Engelska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194870.

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N. K. Jemisin‘s Broken Earth Trilogy explores the methods and effects of systemic oppression. Orogenes are historically oppressed and dehumanised by the wider society of The Stillness. In this thesis, I will be exploring the ways in which trauma experienced by orogenes is repeated through generations, as presented through Essun‘s varied and complex relationships with her children, and with the Fulcrum Guardian Schaffa. The collective trauma of orogenes is perpetuated through different direct and indirect actions in a repetitive cycle, on societal, interpersonal and familial levels. My reading will be in conversation with theories of trauma literature and cultural trauma, and will be informed by Afrofuturist cultural theory.  Although science fiction and fantasy encourage the imagination, worldbuilding is inherently influenced by lived experiences. It could thus be stated that the trauma experienced by orogenes is informed by the collective trauma of African-Americans, as experienced by N. K. Jemisin. Afrofuturism is an aesthetic mode and critical lens which prioritises the imagining of a liberated future. Writing science fiction and fantasy through an Afrofuturist aesthetic mode encourages authors to explore forms of collective trauma as well as methods of healing. Jemisin creates an explicit parallel between the traumatic African-American experience and that of orogenes. Afrofuturist art disrupts linear time and addresses past and present trauma through the imagining of the future. The Broken Earth Trilogy provides a blueprint for the imagined liberation of oppressed groups. Using Afrofuturist tropes such as technology, the ―Black Genius‖ figure and alienation, Jemisin demonstrates the power of reclamation and the possibility of a self-created future for oppressed groups.
8

Oppelt, Riaan. "The valley trilogy: a reading of C. Loius Leipoldt's English-language fiction circa 1925-1935". Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_7246_1257247882.

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C. Louis Leipoldt is known as a canonical figure in the history of Afrikaans poetry, He is customarily included in the pantheon of writers such as C.J. Langenhoven who not only established Afrikaans as a standardized national language in the early twentieth century, but also contributed to the idea of the Afrikaner Volk as a distinct nation within South Africa. The recent publication of Leipoldt's Valley Trilogy, three novels written in English in the 1930's now reveals Leipoldt in a very different light. Today, in a time of national transformation, Leipoldt's liberal ideas deserve to be given the broader scope he had intended for them.

9

Toerien, Michelle. "Boundaries in cyberpunk fiction : William Gibson's Neuromancer trilogy, Bruce Sterling's Schismatrix, and Neal Stephenson's Snow crash". Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51639.

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Thesis (MA)--Stellenbosch University, 2000.
ENGLISH ABSTRACT: Cyberpunk literature explores the effects that developments in technology will have on the lives of individuals in the future. Technology is seen as having the potential to be of benefit to society, but it is also seen as a dangerous tool that can be used to severely limit humanity's freedom. Most of the characters in the texts I examine wish to perpetuate the boundaries that contain them in a desperate search for stability. Only a few individuals manage to move beyond the boundaries created by multinational corporations that use technology, drugs or religion for their own benefit. This thesis will provide a definition of cyberpunk and explore its development from science fiction and postmodern writing. The influence of postmodern thinking on cyberpunk literature can be seen in its move from stability to fluidity, and in its insistence on the impossibility of creating fixed boundaries. Cyberpunk does not see the future of humanity as stable, and argues that it will be necessary for humanity to move beyond the boundaries that contain it. The novels I discuss present different views concerning the nature of humanity's merging with technology. One view is that humanity is moving towards a posthuman future, while some argue that humanity is not discarded, but that these characters have merely evolved to the next step in the natural development of humankind. Both these views deal with constant change, a notion advocated by both postmodernism and cyberpunk.
AFRIKAANSE OPSOMMING: "Cyberpunk" literatuur ondersoek die uitwerking wat tegnologiese ontwikkeling in die toekoms op die lewens van individue sal hê. Tegnologie word gesien as tot moontlike voordeel vir die samelewing, maar dit kan ook 'n gevaarlike wapen wees wat gebruik kan word om die mens se vryheid in te perk. Die meerderheid van die karakters in die romans wat ek bespreek verkies om die grense wat hulle inperk te handhaaf in 'n desperate strewe na stabiliteit. Slegs 'n paar individue kry dit wel reg om verby die grense te breek wat deur multinasionale organisasies geskep word vir hul eie gewin. In hierdie tesis kyk ek na 'n definisie van "cyberpunk" en ek ondersoek die invloed van wetenskapsfiksie en postmodernisme op die ontwikkeling van die beweging. Die invloed van postmodernistiese denke kan gesien word in "cyberpunk" se fokus op veranderlikheid eerder as stabiliteit. "Cyberpunk" sien nie die toekoms van die mens as stabiel nie, en die argument is dat dit nodig is vir die mens om verby die grense te beweeg wat vryheid inperk. Die romans wat ek bespreek bevat verskillende sieninge oor die tipe samesmelting wat die mens en tegnologie sal hê. Sommige voel dat die kategorie "mens" permanent agterlaat gaan word, terwyl ander argumenteer dat individue slegs sal ontwikkel tot die volgende stap in die natuurlike ontwikkeling van die mens. Voortdurende verandering is die fokus van beide hierdie standpunte, en dit is ook die belangrikste fokus van beide "cyberpunk" en postmodernisme.
10

Simpson, Kathryn C. S. "H. Rider Haggard, Theophilus Shepstone and the Zikali trilogy : a revisionist approach to Haggard's African fiction". Thesis, Edinburgh Napier University, 2017. http://researchrepository.napier.ac.uk/Output/978289.

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The history that H. Rider Haggard writes about in his imperial adventure romance fiction is neither collusive nor consensual with the Zulu who are often the focus of his novels. He writes a complex colonial narrative that characterises the Zulu as a proud and mythic, yet ultimately doomed, race. His early twentieth century trilogy, Zikali, is unique in that he uses the three books, Marie, Child of Storm and Finished, to narrate three pivotal events in the nineteenth century history of the Zulu Kingdom. In Zikali, he simultaneously propounds the legitimacy of the colonial endeavour, so effectively that he rewrites history, to ensure the primacy of the Englishman in nineteenth century Southern Africa historiography, whilst aggrandising the Zulu kingdom. This reframing of the colonial narrative—to suit the Western interloper—would be evidence of what is a standard trope within imperial adventure romance fiction, were it not for the fact that Haggard is ambivalent in his imperialism. He is both recorder and creator of imperial history, bewailing the demise of the Zulu Kingdom whilst validating the importance of the role of the colonial white Englishman; he senselessly kills hundreds of natives within his books, yet privileges the Zulu. Referencing one of the primary motivational sources in Haggard's own colonial experience, Theophilus Shepstone, I propose to show Haggard's sublimation of Shepstone's ideas into his own African Arcadian romances, and his creation of a Zulu historiography, which would go on to be lauded by the early South African National Native Congress as being one of the foundations of early twentieth century native socio-political self-fashioning. Haggard's work provides a fragmentary and elusive insight into nineteenth century southern African history and offers an abstruse glimpse into colonial culture rarely found in other imperial adventure romance fiction.
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Libros sobre el tema "Fictional trilogy":

1

Silone, Ignazio. The Abruzzo trilogy. South Royalton, Vt: Steerforth Italia, 2000.

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2

Broch, Hermann. The sleepwalkers: A trilogy. New York: Vintage International, Vintage Books, 1996.

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3

Cousineau, Thomas. After the final no: Samuel Beckett's trilogy. Newark: University of Delaware Press, 1999.

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4

Pultar, Gönül. Technique and tradition in Beckett's trilogy of novels. Lanham [Md.]: University Press of America, 1996.

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5

Auster, Paul. The New York trilogy. London: Faber and Faber, 1988.

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Auster, Paul. The New York trilogy. Los Angeles, CA: Sun & Moon Press, 1994.

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Auster, Paul. The New York trilogy. New York, N.Y., U.S.A: Penguin Books, 1990.

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Auster, Paul. The New York Trilogy. New York: Penguin Group USA, Inc., 2008.

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9

T, Farrell James. Studs Lonigan: A trilogy. New York: Library of America, 2004.

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10

Aeschylus. The Oresteia trilogy. Mineola, N.Y: Dover Publications, 1996.

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Capítulos de libros sobre el tema "Fictional trilogy":

1

Moseley, Merritt y Nicolas Tredell. "The Regeneration Trilogy". En The Fiction of Pat Barker, 44–60. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-43204-9_4.

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Taylor-Batty, Juliette. "French (De)composition: Samuel Beckett’s Trilogy". En Multilingualism in Modernist Fiction, 146–79. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137367969_6.

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McEwan, Neil. "J. G. Farrell: Empire Trilogy". En Perspective in British Historical Fiction Today, 124–58. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-08261-2_6.

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Dechêne, Antoine. "Paul Auster’s The New York Trilogy". En Detective Fiction and the Problem of Knowledge, 149–90. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94469-2_6.

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5

Rollason, Christopher. "The Detective Myth in Edgar Allan Poe’s Dupin Trilogy". En American Crime Fiction, 4–22. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19225-0_2.

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6

Mehnert, Antonia. "ClimateCultures in Kim Stanley Robinson’s Science in the Capital Trilogy". En Climate Change Fictions, 149–81. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40337-3_6.

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7

Saunders, Robert A. "Mapping Monstrosity: Metaphorical Geographies in China Miéville’s Bas-Lag Trilogy". En Popular Fiction and Spatiality, 157–76. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-56902-8_11.

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8

Manlove, C. N. "Isaac Asimov, the Foundation Trilogy (1951– 53; serialized 1942–49)". En Science Fiction: Ten Explorations, 15–34. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-07259-0_2.

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9

Miranda, Carolina. "Temporal, (Trans)National and Human Mobility in María Inés Krimer’s Kosher Trilogy". En Transnational Crime Fiction, 63–78. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53413-4_3.

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Freeman, Meghan A. "Disarticulated Figures: Language and Sexual Violence in Contemporary Crime Fiction". En Rape in Stieg Larsson’s Millennium Trilogy and Beyond, 117–35. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137291639_8.

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Actas de conferencias sobre el tema "Fictional trilogy":

1

Chuwei, Wang y Li Ting. "The Survival Theme of the Science Fiction “The Three Body Problem” Trilogy from Cixin Liu". En Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.121.

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Molnár, András. "The Dynamics of Consent and Antagonism in Ian McDonald’s Luna Trilogy". En Argumentation 2021. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9972-2021-4.

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Resumen
This paper is an attempt at a ‘law and literature’ analysis of Ian McDonald’s Luna trilogy. It claims that operating with a science fiction setting, the trilogy invites the reader to reflect on how and in what form a legal system may contribute to the proper functioning of a human community. The law of the moon rests on consent and antagonism at the same time. The ‘consent’ principle reflects law and economics’ conception that a person should be left to freely negotiate for their interests and rights, and that unless the transaction costs transcend the benefits, such free negotiation is the most effective way to regulate social relationships and increase common wealth. The Moon’s legal system, in this respect, is taken to the extreme, because even though courts do exist, there is no state apparatus to enforce judicial decisions. The system operates on fully individualistic and voluntary compliance to judicial decisions, which means that abiding by a pact is salvaged only by the individual interests of the participants. This reliance on individual interests – a pivotal point of law and economics – seemingly warrants cooperation, but also carries in itself the germ of antagonism. Antagonism, in my opinion, can be traced on two levels of the workings of the Moon’s so-called legal system. First, it places significant emphasis on fight: substantial truth matters little, if at all, in the moon’s legal system; what matters is pure bargaining power, tactical sense, and sometimes even bluffing, and this feature is even ideologised. One’s rights are constituted as a result of struggle. Second, however, the novel also deconstructs this notion of the law by centring on a more general level of antagonism, the armed conflicts of the various families to ground their own interests. Such conflicts demonstrate the inherent instability of the system that is not backed by a normative structure above pure partial interests.
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González Hernández, Ana Teresa. "La femme au colt 45: un parcours dans imaginaire aquatique de Marie Redonnet". En XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3111.

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Sous l’apparence d’une écriture dépouillée et d’une narration dénudée, Marie Redonnet, écrivaine contemporaine, nous présente un univers fictionnel peuplé de personnages –féminins pour la plupart- démunis et solitaires, soumis aux grandes tensions sociales, ancrés dans un cadre spatio-temporel flou, et fréquemment plongés dans un état d’abandon existentiel, de stagnation, auquel vient contribuer la présence d’une composante clé de l’imaginaire redonnetien: l’élément aquatique. Chez Redonnet, les différentes variantes de l’eau: océans, mers, fleuves, lacs, cascades, marécages, etc, deviennent de véritables métaphores récurrentes, voire obsédantes, riches de signification. Prenant comme point de départ de notre parcours la trilogie: Splendid Hôtel, Forever Valley et Rose Mélie Rose, publiée entre 1986 et 1987, nous nous proposons d’analyser, dans un premier temps, le rôle et la signification de la présence récurrente de la thématique de l’eau dans cette trilogie. Nous dresserons, ensuite, le tableau des différentes manifestations de l’eau et des divers aspects de la symbolique aquatique dans son dernier roman: La femme au colt 45, paru en 2016. Dans ce roman, utilisant une langue épurée et minimaliste, proche du langage dramaturgique, Marie Redonnet nous pose la problématique de la précarité des réfugiés, et des sans-papiers, de la méchanceté humaine, des difficultés pour recommencer une nouvelle vie ailleurs, de « l’autre côté du fleuve », à travers l’expérience vitale de Lora Sander, une comédienne qui fuit la dictature de son pays. L’étude dans ce dernier roman de la présence de l’eau, sous toutes ses manifestations, ainsi que la signification des différents élements qui lui sont associés, nous permettra de nous interroger sur l’évolution du traitement de l’imaginaire aquatique dans la création littéraire de M. Redonnet.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3111

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