Bibliografías temáticas / Guilt – Fiction

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Literatura académica sobre el tema "Guilt – Fiction"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Guilt – Fiction"

1

Hartley, James A. "Guilt-Edge Security." After Dinner Conversation 2, no. 5 (2021): 60–70. http://dx.doi.org/10.5840/adc20212543.

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How does our limited life span determine our choices and our view on the preciousness of life? How would these views change if we lived forever? In this work of philosophical short story fiction, a traveling salesman sits at the bar after a long day drinking bourbon. He is approached and cleverly pitched a new product he has discovered on a distant rim planet, Life. The product stops the aging process. The first batch is free, and the salesman returns eight years later to get into the distribution business.
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2

Hartley, James A. "Guilt-Edge Security." After Dinner Conversation 5, no. 5 (2024): 107–18. http://dx.doi.org/10.5840/adc20245550.

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How does our limited life span determine our choices and our view on the preciousness of life? How would these views change if we lived forever? In this work of philosophical short story fiction, a traveling salesman sits at the bar after a long day drinking bourbon. He is approached and cleverly pitched a new product he has discovered on a distant rim planet, Life. The product stops the aging process. The first batch is free, and the salesman returns eight years later to get into the distribution business.
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3

Kholifah, Rista Nur, Aulia Sahda Rahima, Nurhabibah Qurrotul 'Aini, and Hidayatul Nurjanah. "Guilt and Madness in Edgar Alan Poe's "The Tell-Tale Heart”: Psychoanalysis Study." Wanastra : Jurnal Bahasa dan Sastra 16, no. 1 (2024): 01–08. http://dx.doi.org/10.31294/wanastra.v16i1.20249.

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Human being has different emotions within themselves, like sadness, happiness, upset and including guilt which can come from various causes. Uncontrolled guilt can be one of the causes of someone experienced madness, which then has a bad impact on themselves and other parties because this emotion of madness can lead someone to act beyond the reason. Guilt and madness can be found in the behavior of someone who is experiencing a bad psychological condition on the daily life. Guilt and madness can also be found in the literary works and one of them is from Edgar Allan Poe with a short story enti
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4

Norbury, Kate. "‘On some precipice in a dream’: Representations of Guilt in Contemporary Young Adult Gay and Lesbian Fiction." International Research in Children's Literature 5, no. 2 (2012): 184–94. http://dx.doi.org/10.3366/ircl.2012.0062.

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This article explores the representation of guilt in six recent young adult novels, in which it is suggested that teen protagonists still experience guilt in relation to their emerging non-normative sexual identities. The experience of guilt may take several different forms, but all dealt with here are characterised by guilt without agency – that is, the protagonist has not deliberately said or done anything to cause harm to another. In a first pair of novels, guilt is depicted as a consequence of internalised homophobia, with which protagonists must at least partly identify. In a second group
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5

Reimão, Sandra. "Detective literature - a panoramic approach." Revista USP, no. 140 (March 22, 2024): 11–24. http://dx.doi.org/10.11606/issn.2316-9036.i140p11-24.

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This paper is divided into two parts: in part I we address the origins and characteristics of the detective fiction literature and in part II we address detective fiction literature written by Brazilians. In each of these parts, there are three subdivisions organized as follows: Edgar Allan Poe and the birth of the detective genre; Conan Doyle’s Sherlock Holmes and Agatha Christie’s Hercule Poirot; On the detective fiction noir (part I); Around the Brazilian detective; Brazil: on crime and guilt; The expansion of Brazilian detective fiction literature in the XXIst century (part II).
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Andersen Kraglund, Rikke. "Karaktermord i 10’ernes danske skønlitteratur." Passage - Tidsskrift for litteratur og kritik 36, no. 85 (2021): 7–27. http://dx.doi.org/10.7146/pas.v36i85.127959.

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 In the 2010s, Danish literature triggered heated debates about the relationship between artistic freedom, defamation, responsibility, guilt and shame, and initiated negotiations of collective norms and values in connection with testimonies in autobiographical fiction. The article establishes that there is a need to consider how differently character assassinations appear in and outside autobiographical fiction, taking into account that autobiographical fiction establishes ambiguous statements that are not found in the media coverage.
 
 
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7

Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction." Journal of Literary Theory 12, no. 2 (2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.

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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlie
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8

Aba shaar, Mohammed Yassin. "Self-reconstruction through the Sense of Guilt: A Study of Select Masterpieces in the American Fiction." British (Jurnal Bahasa dan Sastra Inggris) 9, no. 2 (2020): 48. http://dx.doi.org/10.31314/british.9.2.48-62.2020.

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Abstract:Reconstruction is considered as a comprehensive transformation of one’s attitude with respect to one’s ego; one’s action; the object of guilt and the temporal-existential experience. The process of reconstruction stems from the need for improvement of the self. Any human being gets exposed to the feelings of sadness, despair, envy, shame, embarrassment and many other emotions that could leave him psychologically disabled. Anyway, guilt is a part of self-conscious emotions that the individual involves for the sake of self-evaluation. It is developed when the person feels that he doesn’
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Knežević, Jelena, and Aleksandra Nikčević-Batrićević. "In Search of Lizzie Borden: Between Fact and Fiction." Transylvanian Review 32, no. 3 (2024): 109–39. http://dx.doi.org/10.33993/tr.2023.3.06.

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The paper discusses the representation of Lizzie Borden in true-crime and crime-fiction prose texts, as well as in a stage production. It centers on the hypothesis of sociocultural aspects which constitute the accounts written about her and feminist readings. Regardless of genre, these nar ratives portray Lizzie Borden in various ways—from a female tormenter to a guilt-free spinster. Both true-crime books and crime-fiction novels, together with the ballet, are modified by socio cultural factors and are also subject to intertextuality. In addition, the lines between fiction and non-fiction lite
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Mullen, John Douglas. "Amazing Times at the Pub Agora." After Dinner Conversation 6, no. 1 (2025): 61–72. https://doi.org/10.5840/adc2025615.

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Who does cheating hurt, if nobody knows? In this work of philosophical short story fiction, a philosopher engages in a thought-provoking conversation with a man grappling with his lack of guilt over an extramarital affair. The man justifies his lack of guilt because his wife and children know nothing about it, and are unlikely to ever know. The story delves into the nature of morality, personal responsibility, and the complexities of human relationships.
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Tesis sobre el tema "Guilt – Fiction"

1

Svedberg, Katarina. "Guilt, Shame, and the Function of Unreliable Narration and Ambiguity in John Banville’s The Book of Evidence." Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100711.

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In a confessional, first person narrative, the concept of truth and how it is constructed and perceived is important. Truth in fiction can be created and interpreted in a number of different ways, and when the narrative that portrays it in addition is unreliable and ambiguous, discerning truth becomes a decidedly complex process. This essay interprets the confessional testimony of the narrator in John Banville’s The Book of Evidence, in order to examine the function of these narrative devices and how they affect the understanding of what is true in Banville’s unreliably narrated novel. It does
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2

Miller, James R. "The Waiting Unknown: Stories." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3440.

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These collected stories are a narrative exploration of a collective life in middle‐class suburbia. Here the reader is introduced to a troop of characters who share a community but yet they are adrift in the atmosphere between identity and memory. At times, as in “When to Lie” and “Afraid of the Question” we see conflict arise when the suburban religious dogma alters character identity, leaving behind haunting memories and scar tissue. Memory and identification play an important roll when, as in “Rx” the protagonist is faced with the sudden loss of his family as he struggles to keep their memor
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3

Mickael, Melissa Louise. "then moored." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363302588.

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Pendrill, Michael Laurie. "A guilty satisfaction : detective fiction and the reader." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40838/.

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The purpose of this thesis is to explore the reasons why readers choose to read detective fiction. Taking Thomas De Quincey's satirical identification of the aesthetic quality of murder, I look at Edgar Allan Poe's detective fiction to find a non-satiric version of the same argument that emphasises the balancing quality of the ethical to the aesthetic. W.H. Auden's essay “The Guilty Vicarage” offers an argument concerning the reader's position in relation to these opposite components. I explore the ways in which Auden's arguments build into Freud's understanding of guilt, daydreams, the moral
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5

Lechler, Ron. "The Best Medicine." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801938/.

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The Best Medicine is an animated documentary that explores the true stories behind the live performances of stand-up comedians. The film juxtaposes live stand-up performances with candid interview footage combined with animation and illustration. Three subjects– Michael Burd, Casey Stoddard, and Jacob Kubon– discuss alcoholism, childhood abuse, and sexual anxiety, respectively. Their candid, intimate interviews reveal personal information, creating a new context with which to understand live stand-up comedy performance. This illustrates themes of finding humor in dark or painful circumstances
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6

Walton, Samantha. "Guilty but insane : psychology, law and selfhood in golden age crime fiction." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7793.

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Writers of golden age crime fiction (1920 to 1945), and in particular female writers, have been seen by many critics as socially and politically detached. Their texts have been read as morality tales, theoretically rich mise en scenès, or psychic fantasies, by necessity emerging from an historical epoch with unique cultural and social concerns, but only obliquely engaging with these concerns by toying with unstable identities, or through playful, but doomed, private transgressions. The thesis overturns assumptions about the crime novel as a negation of the present moment, detached and escapist
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7

Thode, Rick D. (Rick Davis). "Sex-Guilt and the Effects of a Subliminal Sex-Related Stimulus on the Libidinal Content of Fictional Narratives." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc501267/.

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Fictional narratives of 68 female undergraduates classified as either high or low on sex-guilt were rated for libidinal content following subliminal exposure to either a sex-related or a neutral stimulus. Separate dependent measures were obtained for libidinal derivatives bearing either a transparently "close" or a symbolically "distant" relationship to the sex-related stimulus. Subjects in the sex-related stimulus condition expressed significantly fewer close libidinal derivatives than subjects in the neutral condition. High sex-guilt subjects' distant derivative production revealed a near-si
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8

Kampf, Raymond William. "Fauxtopia." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/749.

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To all who come to this fictitious place:Welcome.Fauxtopia is your land. Here, age relives distorted memories of the past, and here, youth may savor the challenge of trying to understand the present. Fauxtopia is made up of the ideals, the dreams and the fuzzy facts which have re-created reality... with the hope that it will be a source of edutainment for all the world.Ray KampfFauxtopia DedicationApril 1st, 2004
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9

Slabbert, Mathilda. "Inventions and transformations : an exploration of mythification and remythification in four contemporary novels." Thesis, 2006. http://hdl.handle.net/10500/2267.

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The reading of four contemporary novels, namely: Credo by Melvyn Bragg, The Catastrophist by Ronan Bennett, Everything You Need by A.L. Kennedy and American Gods by Neil Gaiman explores the prominent position of mythification and remythification in contemporary literature. The discussion of Bragg's novel examines the significance of Celtic mythology and folklore and to what extent it influenced Christian mythology on the British Isles and vice versa. The presentation of the transition from a cyclical, pagan to a linear, Christian belief system is analysed. My analysis of Bennett's novel sup
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10

Xaba, Andile. "Temporality and the past: recollections of apartheid in selected South African novels in English." Diss., 2014. http://hdl.handle.net/10500/19242.

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The study provides a theoretical account for the representation of apartheid in South African fiction. Narrative strategies employed in the post-apartheid novels The innocence of roast chicken (Richards, 1996), The smell of apples (Behr, 1996), All we have left unsaid (Case, 2006) and Thirteen cents (Duiker, 2011) reveal that depictions of the past contribute to narrative structure and the production of meaning. Genettean temporal relations, namely narrative order, duration and frequency are a systematic method to analyse the selected novels, since it enables a contrast between the narrative p
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Libros sobre el tema "Guilt – Fiction"

1

Xilahe. Guilt. Chatto & Windus, 2012.

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Lescroart, John T. Guilt. Wheeler Pub., 1997.

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Garfield, Leon. Guilt and gingerbread. Puffin, 1987.

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Clark, Marcia. Guilt by association. ISIS, 2012.

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5

Barbara, Parker. Suspicion of guilt. Headline, 1995.

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Barbara, Parker. Suspicion of guilt. Headline Feature, 1995.

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Kelly, Lelia. Presumption of guilt. Pinnacle Books, 1998.

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Barbara, Parker. Suspicion of guilt. Signet, 1995.

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9

Schwartz, Edward. Guilt. iUniverse, Incorporated, 2009.

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10

Nable, Matt. Guilt. Penguin Random House, 2015.

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Capítulos de libros sobre el tema "Guilt – Fiction"

1

Hutchinson, Colin. "Liberal Guilt and American Fiction." In Reaganism, Thatcherism and the Social Novel. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230594906_4.

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Bradbury, Richard. "Sexuality, Guilt and Detection: Tension between History and Suspense." In American Crime Fiction. Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19225-0_7.

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Gomel, Elana. "Human Skins, Alien Masks: Allegories of Postcolonial Guilt." In Science Fiction, Alien Encounters, and the Ethics of Posthumanism. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137367631_5.

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Garnett, Rhys. "Dracula and The Beetle: Imperial and Sexual Guilt and Fear in Late Victorian Fantasy." In Science Fiction Roots and Branches. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20815-9_4.

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Bedore, Pamela. "Storytelling, Guilt, and Games in Margaret Atwood's Post-apocalyptic Crime Fiction." In The Routledge Introduction to Canadian Crime Fiction. Routledge, 2023. http://dx.doi.org/10.4324/9781003125242-16.

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Weaver-Hightower, Rebecca. "Settler Guilt and Animal Allegories." In Frontier Fictions. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00422-4_4.

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Bergman, Kerstin. "The Good, the Bad and the Collaborators: Swedish World War II Guilt Redefined in Twenty-First-Century Crime Fiction?" In Imagining Mass Dictatorships. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137330697_10.

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Weaver-Hightower, Rebecca. "Guilt and the Settler–Indigene Relationship." In Frontier Fictions. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00422-4_2.

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Mutch, Deborah. "Colonel Bradbury, ‘Guilty – But Drunk’ (1899)." In British Socialist Fiction, 1884-1914, Volume 2. Routledge, 2024. http://dx.doi.org/10.4324/9781003553373-25.

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Duruaku, Chioma. "Guilt (Short story)." In ALT 36: Queer Theory in Filmand Fiction. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787443730.018.

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