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Artículos de revistas sobre el tema "Guilt – Fiction"

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

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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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6

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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9

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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10

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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11

Clark, David. "Review of Guilt Rules All: Mysteries, Detectives, and Crime in Irish Fiction, edited by Brian Cliff and Elizabeth Mannion." Review of Irish Studies in Europe 4, no. 1 (2021): 172–75. http://dx.doi.org/10.32803/rise.v4i1.2673.

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Review of Guilt Rules All: Mysteries, Detectives, and Crime in Irish Fiction, edited by Brian Cliff and Elizabeth Mannion (Syracuse: Syracuse U.P., 2020), 304pp. ISBN 9780815636830, $29.95 (paperback). ISBN 9780815636731, $75.00 (hardback).
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12

Sanders, Mark. "Culpability and Guilt: Child Soldiers in Fiction and Memoir." Law and Literature 23, no. 2 (2011): 195–223. http://dx.doi.org/10.1525/lal.2011.23.2.195.

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13

Vice, Sue. "'Guilt ran through me like lightning': Holocaust Complicity in Popular Fiction." Journal of Perpetrator Research 7, no. 2 (2025): 171–94. https://doi.org/10.21039/jpr.7.2.177.

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Although popular novels about the Holocaust are often ambivalently received, this article will claim the ability of works of this kind to represent the subjective experience of complicity. In the novels discussed here, the protagonist is a non-Jewish German woman who witnesses at close quarters the atrocities of the Third Reich, requiring reflection upon the possibility of her own implication in those crimes. These examples, Mandy Robotham’s A Woman of War (2018), Louise Fein’s People Like Us (2020) and John Boyne’s All the Broken Places (2022), depict the changes in the protagonist’s self-und
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14

Shchur, Ekaterina. "Crimes in Fiction and Alleged Punishments." Legal Linguistics, no. 25 (36) (October 1, 2022): 10–14. http://dx.doi.org/10.14258/leglinleglin(2022)2502.

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The article discusses a number of works of Russian and foreign literature in which certain crimes appear. The author considers various circumstances of the crimes committed, which aggravate or mitigate the guilt of the offender. There also were considered some relevant articles of modern Russian legislation related to the crimes under these investigations. According to the analysis, the author suggests alleged punishments which the heroes of the books could be awarded.
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15

Wonham, Henry B. "Postcritical Howells: American Realism and Liberal Guilt." American Literature 92, no. 2 (2020): 229–55. http://dx.doi.org/10.1215/00029831-8267720.

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Abstract This essay explores the concept of liberal guilt in William Dean Howells’s fiction, focusing especially on his 1888 novel Annie Kilburn. Genealogies of liberal guilt rarely mention Howells, and yet no American writer has more painstakingly elaborated the embarrassing predicament of middle-class complicity in social arrangements that entail the widespread suffering of others. I provide a summary of theoretical positions on liberal guilt as a structure of feeling that entails what Richard Rorty calls “doubt about [one’s] own sensitivity to the pain and humiliation of others, doubt that
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16

Widyani, Erika, and Susi Ekalestari. "GUILT TRIPPING IN AGATHA CHRISTIE’S THE MURDER OF ROGER ACKROYD." JOURNAL OF LANGUAGE 7, no. 1 (2025): 61–70. https://doi.org/10.30743/jol.v7i1.11042.

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This study examines the use of guilt-tripping as a form of psychological manipulation in Agatha Christie’s The Murder of Roger Ackroyd. The analysis centers on identifying both the causes and the types of guilt-tripping enacted by the novel’s manipulative character. Employing McPhillips’ (2022) theoretical framework on manipulative behavior, the research adopts a descriptive qualitative approach, with a focus on character and narrative analysis. The findings reveal that the primary motivations for guilt-tripping include emotional dependency, a desire to manipulate and control others, and under
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17

So-lo-li Topaum, Cyanne. "Violence and Vigilantism in Native American Crime Fiction: Settler Criminality in the Novels of LaFavor, Rendon, and Boulley." Crime Fiction Studies 6, no. 1 (2025): 24–38. https://doi.org/10.3366/cfs.2025.0134.

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In classic mystery fiction, criminality is represented at the level of the individual, with a heavy emphasis placed on the moral culpability and guilt of the singular criminal. These retributivist representations are often burdened by a neglect of institutional and structural causes for criminal behaviour. By emphasising individual ‘evil’ and guilt, they have the potential to be read as whitewashing carcerality and systemic inequality. In Native American crime fiction, on the other hand, the individualisation of criminality has a very different value: laying bare the history of settler vigilan
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18

Landsbergytė-Becher, Jūratė. "Non-Fiction from a Historical Perspective: Situation of Lithuanian Statemen Amid Tragic Events of 1940–1941." Pitannâ lìteraturoznavstva, no. 110 (December 31, 2024): 239–53. https://doi.org/10.31861/pytlit2024.110.239.

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Non-fiction literature has become the crucial historical drama of the present, with its power to change the fate of the state and its interpretations. The line of statehood defence in the context of history or the so-called Mannerheim line is crucial in texts accessing only destroyed documentary sources left from decades of occupation. It is characteristic of the current era, in which real wars of history develop, and fiction causes the need for non-fiction looking for explanations, facts and illuminating shadowed destruction of the State and still dark turns of Lithuania’s historical path. Se
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19

Kamrowska, Agnieszka. "Elektroniczny łowca: postać cyborga w kinie science fiction głównego nurtu." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (2021): 21–34. http://dx.doi.org/10.14746/i.2020.37.02.

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 The aim of this text is to analyze the cyborg motif in mainstream American science fiction films, as represented by the Terminator and RoboCop film series. The cyborg characters presented in these films are focused mainly on violence and destruction, which emphasizes the technophobic attitude of the culture within which these films were made. The only redemption of their otherness is showing their humanity. For a cyborg, its technological provenance is a burden and results in its sense of guilt. In this manner, American science fiction films support anthropocentrism and th
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20

Rey Segovia, Ana-Clara. "Climate Fiction and its Narratives." Exchanges: The Interdisciplinary Research Journal 8, no. 2 (2021): 47–68. http://dx.doi.org/10.31273/eirj.v8i2.539.

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In the late 20th and early 21st centuries, the narratives about a possible environmental collapse and its consequences have multiplied. This is due to a growing awareness about issues such as climate change or the energy crisis. The so-called ‘climate science fiction’ or cli-fi has reflected these concerns in highly successful films, like the two analysed here: The Day After Tomorrow (2004) and The Day the Earth Stood Still (2008), a remake of the 1951 classic. In this paper, I approach both films through an analysis of their plot and narrative structure, focusing mainly on the evolution of th
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21

Roșca, Mihai Robert. "Ficțiunea distopică – divertisment sau cântec de lebădă?" Revista de Istorie și Teorie Literară 18 (December 20, 2024): 317–37. https://doi.org/10.59277/ritl.2024.18.27.

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Dystopian and post-apocalyptic fiction stands out in the contemporary cultural landscape, both in terms of best-selling popular culture products, notably the best-selling novels or blockbuster movies aimed at an YA audience, and increasingly in the high culture sphere. The former contempt of the academia for science fiction has led to a reassessment and “repackaging” by the writers of their works as belonging to the speculative fiction genre. The inner space science fiction, sometimes rebranded as dystopian, cli-fi and post-apocalyptic fiction has gradually moved away from the outer worlds of
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22

Fernández, Richard Jorge. "Guilt, Greed and Remorse: Manifestations of the Anglo-Irish Other in J. S. Le Fanu’s “Madame Crowl’s Ghost” and “Green Tea”." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 2 (2020): 233–51. http://dx.doi.org/10.28914/atlantis-2020-42.2.12.

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Monsters and the idea of monstrosity are central tenets of Gothic fiction. Such figures as vampires and werewolves have been extensively used to represent the menacing Other in an overtly physical way, identifying the colonial Other as the main threat to civilised British society. However, this physically threatening monster evolved, in later manifestations of the genre, into a more psychological, mind-threatening being and, thus, werewolves were left behind in exchange for psychological fear. In Ireland, however, this change implied a further step. Traditional ethnographic divisions have tend
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23

Lalmalsawmtluanga, Lalmalsawmtluanga, and Dr Rafat Khanam. "Edgar Allan Poe and the Gothic Triad: Supernatural, Obsession and Death." International Journal of English Literature and Social Sciences 10, no. 3 (2025): 118–22. https://doi.org/10.22161/ijels.103.20.

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Edgar Allan Poe’s Gothic literature masterfully intertwines supernatural horror, psychological obsession, and death. His works, featuring unreliable narrators, eerie atmospheres, and macabre themes, redefine the genre. His significant influence is also shown, and his contribution to Gothic literature is mentioned. This study explores Poe’s unique contributions, examining how his narratives of madness, guilt, and mortality continue to shape Gothic fiction and modern horror storytelling.
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24

RAGACHEWSKAYA, Marina. "POETICS OF DESIRE IN D.H. LAWRENCE’S SHORTER FICTION." Astraea 2, no. 1 (2021): 61–78. http://dx.doi.org/10.34142/astraea.2021.2.1.04.

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Desire is a specific subject of research in many areas, including literary studies and text analysis. The representation of desire in fiction is an inseparable part of the sub-genre of psychological prose; its interpretation by readers and scholars requires an interdisciplinary approach and relies on psychoanalytic theories and terminology for elucidation. Shorter psychological fiction – novellas and short stories – depend on the authors’ mastery of language use, while the formal textual length is limited. Therefore, the study of desire encoded in a short fictional piece is both difficult due
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25

Griffel, C. S. "Jakub." After Dinner Conversation 5, no. 12 (2024): 29–40. https://doi.org/10.5840/adc2024512123.

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Do good deeds ever absolve you from bad? In this work of philosophical short story fiction, Rabbi Asher Segal discovers that Jakub Rabinowicz, a beloved member of his congregation and a Holocaust survivor, is actually Helmut Wolff, a Nazi war criminal. Jakub/Helmut confesses to the rabbi that he assumed a Jewish identity to escape prosecution. The story explores themes of identity, guilt, redemption, and the complexities of justice and forgiveness.
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26

Ufuk ÖZEN BAYKENT. "The theme of Evil in Edgar Allan Poe'e Fiction." International Journal of Science and Research Archive 14, no. 3 (2025): 191–95. https://doi.org/10.30574/ijsra.2025.14.3.0653.

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Edgar Allan Poe’s fiction is marked by an intricate exploration of evil, manifesting in psychological torment, moral decay, and supernatural horror. This article examines the theme of evil in Poe’s short stories, focusing on its psychological, philosophical, and symbolic dimensions. Through an analysis of key texts, including “The Tell-Tale Heart,” “The Black Cat,” and “The Fall of the House of Usher,” this study demonstrates how Poe presents evil as an intrinsic element of human nature, often driven by obsession, guilt, and madness. The discussion incorporates perspectives from literary criti
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27

Pettitt, Joanne. "Nazis in Auschwitz: Reflections on Anglophone Perpetrator Fiction." Humanities 12, no. 3 (2023): 47. http://dx.doi.org/10.3390/h12030047.

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This article considers the various ways in which the topographies of Auschwitz are used as a symbolic means of articulating particular kinds of guilt in fiction relating to the Holocaust. To do this, I analyse three primary examples: John Donoghue’s The Death’s Head Chess Club (2015), Martin Amis’ The Zone of Interest (2014), and Dalton Trumbo’s unfinished novel, Night of the Aurochs (1979). These texts, I argue, employ the complex spatial dynamics of the site in order to address important questions of power, agency, and moral ambiguity. More specifically, such imagery reveals a spectrum of co
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28

Sujata. "Guilt and Redemption : A Critical Study of the Kite Runner by Khalid Housseini." History Research Journal 5, no. 4 (2019): 191–212. http://dx.doi.org/10.26643/hrj.v5i4.7502.

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The literature of Afghanistan speaks the voice of every violated soul either it is male or female. Specially, it speaks the voice of violence, taking place towards every male, female and child. Violence is not only a harsh threat to our life but it blocks our happiness. Violence totally kills our ambition, and simultaneously our every future positivity by which we can face the bold incidents coming in front of us. Actually violence has no clear cut definition and explanation. A process of creative fiction has always been a segment of the creative evolution of the society itself. Afghan fiction
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29

Christian, Emecheta. "Gray Lines." After Dinner Conversation 6, no. 7 (2025): 5–14. https://doi.org/10.5840/adc20256764.

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Do good ends justify criminal means? In this work of philosophical short fiction, Theodore confesses to his grandson Liam about a crime he committed in his youth - stealing from a corrupt factory owner to help his injured friend and other struggling families. He recounts his actions and the positive outcomes that followed, while grappling with the enduring question of whether the good he achieved can justify his illegal act, and the lingering guilt he carries to old age.
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30

Allisan, Jay. "Blackorwhite." After Dinner Conversation 5, no. 12 (2024): 87–115. https://doi.org/10.5840/adc2024512127.

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What is justice? How do we know we know if a punishment serves justice? In this work of philosophical short story fiction, Dr. Evergreen, a young doctor, is called to a prison to treat Fuzzy, an elderly inmate on death row. Fuzzy, who has spent most of his life in prison, recounts his past crimes and the events that led to his incarceration. The story delves into themes of guilt, remorse, the death penalty, and the complexities of the criminal justice system.
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31

COJOCARU, Andrei Victor. "Facts and Fiction in Raskolnikov’s First Dream." ACTA IASSYENSIA COMPARATIONIS 34, no. 2 (2025): 69–76. https://doi.org/10.47743/aic-2024-2-0007.

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The dreams in Dostoevsky’s great novels provide a window into the consciousness of the characters, revealing the duality and conflict between reason and emotion, as well as deep philosophical and moral implications. From a psychoanalytic perspective, Dostoevsky’s dreams reveal the moral dilemmas and inner conflicts of the characters, and are more than just random manifestations of the unconscious. For example, in the novel Crime and Punishment, Raskolnikov’s dream that precedes the murder of the pawnbroker symbolizes his latent guilt and the tension between his empathy and his violent tendenci
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32

Rida, Fatima1, and Hassan Bin Zubair2* Dr. "PSYCHOANALYTICAL STUDY OF JODI PICOULT'S FICTION." MSI Journal of Arts, Law and Justice (MSIJALJ) Volume 2, Issue 5 (2025): 43–55. https://doi.org/10.5281/zenodo.15347570.

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This research explores the connections between decision, mental health, and emotional well-being. The relationship between Anna and Sara Fitzgerald in Jodi Picoult's novel My Sister's Keeper presents a unique view of psychoanalytic themes. This analysis helps elucidate the psychological conflict of the protagonists, integrating Freudian theory with close readings of the text derived from both literary and psychoanalytic criticism. In the story of My Sister’s Keeper, by Jodi Picoult Kate’s parents conceived a child through genetic engineering, to be a donor for their elder
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33

Klerk, Marianne. "Stadtschmerz: Stories of Loss and Guilt in Times of Gentrification." Amsterdam Museum Journal 2, no. 1 (2024): 176–207. http://dx.doi.org/10.61299/i_b299zm.

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This essay detects a genre of non-fiction, which it coins as Stadtschmerz. In this genre, middle class residents who experience alienation due to gentrification turn this experience into stories of loss and guilt (for being the target group of gentrification). This essay explores four canonical texts of Stadtschmerz from the mid-19th century to the present; the authors explore the gentrifying city as flâneurs and report on their findings in a feuilleton. As such, the essay shows how through expressing Stadtschmerz the middle-class attempts to cope with the making of the middle-class city. In t
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34

Atack, Margaret. "From Meurtres pour mémoire to Missak: Literature and historiography in dialogue." French Cultural Studies 25, no. 3-4 (2014): 271–80. http://dx.doi.org/10.1177/0957155814540401.

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Didier Daeninckx has devoted many novels to the history and memory of the Occupation. This article explores the relationship between his fiction and historiographical frameworks with reference to Meurtres pour mémoire, contrasted with Missak published 25 years later. After discussion of 1980s historiography of the Occupation and the Algerian War, it looks particularly at narrative structure and the thematics of order (both obedience and orderly documentation), seeking to establish the differences in the ways these two novels historicise the past, and the historiographical differences in their
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35

Cheis, Tommy. "Crawl Out of the Sewer." After Dinner Conversation 5, no. 12 (2024): 55–78. https://doi.org/10.5840/adc2024512125.

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Is there such a thing as a just war? How do you know if it’s a war crime? In this philosophical short story fiction, Dr. James Panther, a psychiatrist, is tasked with evaluating the sanity of Sergeant Philo Outis, a soldier facing a court-martial for desertion by refusing to accept his next deployment. Philo, traumatized by his experiences in Iraq, has refuse to deploy to Afghanistan and insists on being found sane so he can be executed. The story delves into the psychological impact of war, moral injury, and the complexities of guilt, responsibility, and the search for redemption.
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36

Tyler, Tom R. "Viewing CSI and the Threshold of Guilt: Managing Truth and Justice in Reality and Fiction." Yale Law Journal 115, no. 5 (2006): 1050. http://dx.doi.org/10.2307/20455645.

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37

Schalk, Sami. "Wounded Warriors of the Future Disability Hierarchy in Avatar and Source Code." Journal of Literary & Cultural Disability Studies: Volume 14, Issue 4 14, no. 4 (2020): 403–19. http://dx.doi.org/10.3828/jlcds.2020.27.

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The article analyzes the representation of disabled veterans in James Cameron’s Avatar and Duncan Jones’s Source Code. The argument is that these two films use the figure of the heroic, technologically enhanced, white disabled veteran man to alleviate cultural anxieties, fears, and guilt about veterans and disabled people in the contemporary United States. In doing so, however, Avatar and Source Code perpetuate a disability hierarchy that reinforces a variety of oppressive cultural norms. The article, therefore, demonstrates how the films reflect the differential valuation and treatment of dif
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38

Hilding, Paul. "Taps." After Dinner Conversation 5, no. 11 (2024): 85–101. http://dx.doi.org/10.5840/adc2024511115.

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Do you have the right, or even the obligation, to disobey laws that you find personally unjust? In this work of philosophical short story fiction, John, a retired music teacher who fled to Canada during the Vietnam War, grapples with his past choices as he plays taps at the funeral of a homeless veteran. Through his reflections and encounters, including a conversation with the veteran's sister and a rereading of Plato's "Crito," John confronts his guilt and seeks redemption for the sacrifices he didn't make. The story delves into themes of duty, sacrifice, and the enduring impact of war on tho
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Shreya, Bhatnagar. "THE TRILOGY OF GERMAN WRITER HANS-ULRICH TREICHEL: BETWEEN REALITY AND FICTION." International Journal of Interdisciplinary Research in Arts and Humanities 2, no. 2 (2017): 144–47. https://doi.org/10.5281/zenodo.1044493.

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Hans-Ulrich Treichel is a German contemporary writer born in the Western part of the then divided Germany. The research paper primarily deals with his trilogy which constitutes Lost (Der Verlorene) (1998), A Man’s Flight (Menschenflug) (2005) and Anatolin (Anatolin) (2008). In his trilogy, he addresses memory and trauma of the flight and expulsion of the Germans which he claims to be significantly absent from the German post-war literary land scape. Therefore, Treichels’s Lost (1998) is considered as a ground-breaking novel which brings the long-repressed German personal memory into the German
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40

Strada-Rozenberga, Kristīne, and Jānis Rozenbergs. "Criminal liability of legal entities in Latvia: General insight, peculiarities and topicalities." Strani pravni zivot, no. 4 (2021): 655–65. http://dx.doi.org/10.5937/spz65-34728.

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The path that the Latvian normative regulation in criminal law and the Latvian criminal law doctrine took to arrive at the possibility of turning against legal entities by criminal law measures was neither fast nor simple. The initial position was that regulation like this would be incompatible with the basic principles of Latvian criminal law since, historically, psychological understanding of guilt has been characteristic in the Latvian criminal law, guilt is identified with a person's mental attitude towards the criminal offence, and guilt also is one of the grounds for criminal liability.
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41

Anjum, Sheeba, and Nupur Tandon. "Mapping the Boundaries: J.M. Coetzee's Disgrace and Slow Man as Modern Cosmopolitan Fiction." Shanlax International Journal of English 7, no. 4 (2019): 51–56. http://dx.doi.org/10.34293/english.v7i4.638.

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The paper aims to investigate J.M. Coetzee’s Disgrace and Slow Man in terms of cosmopolitan concepts of shame, imaginative sympathy and its limits. Coetzee’s novels encourage a ‘distinctive individualism’ which reflects the insufficiency of shame, guilt and sympathy as indicative of cosmopolitan philosophy. In this regard, a selective theoretical approach is adopted, which suggest that Coetzee’s fiction is significant and promotes a faith-driven association between the cosmopolitan subject and the ‘other’. The presence of others in his novels makes it cosmopolitan, even though the central subj
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Pelzer, Jurgen. ""The Facts Behind the Guilt"? Background and Implicit Intentions in 'Downfall'." German Politics and Society 25, no. 1 (2007): 90–101. http://dx.doi.org/10.3167/gps.2007.250105.

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The film Downfall, released in 2004 at the height of an unprecedented "Hitler wave," has to be seen in a long tradition of literary and cinematic attempts to deal with Germany's "unmasterable past." The filmmakers claimed that by focusing on Hitler's final days before the end of WWII they had discovered "new territory" and presented the "facts behind the guilt." This article points out, however, that the film is historiographically based on the account by Joachim Fest's book Downfall-in which the author, as in his earlier work, follows a methodological approach that personalizes history and fo
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Almasoudi, Ruwaida. "Posttraumatic Memories and Feelings of Guilt in Tim O'Brien's The Things They Carried." Al-Adab Journal, no. 145 (June 14, 2023): 21–32. http://dx.doi.org/10.31973/aj.v1i145.3921.

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Writing has long been related to communicating emotional experiences. One of these experiences is war, and the Vietnam War was a long brutal struggle divided into two periods. The first is called the good Vietnam War, covering the years from 1964 to 1968. The second spanned from 1968 to 1972, known as the bad Vietnam War, through which fighting turned into guerilla war. Battles of the second phase were characterized by savage killings of soldiers and mass murder of unarmed civilian Vietnamese. This bad war inspired many literary narratives in drama, fiction, and poetry. Tim O’Brien’s The Thing
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Rodi-Risberg, Marinella, and Helen Mäntymäki. "Perpetrator Trauma in Television Crime Series We Hunt Together." Crime Fiction Studies 3, no. 2 (2022): 175–93. http://dx.doi.org/10.3366/cfs.2022.0073.

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Crime fiction scholarship increasingly focuses on trauma in contemporary crime narratives but has largely neglected to investigate perpetrator trauma. This article contributes to filling this gap by exploring perpetrator trauma in We Hunt Together (2020), a British television crime series written by Gaby Hull, that portrays the consequences of perpetrator trauma on a former child soldier from the Democratic Republic of the Congo (DRC), Babeni (Baba) Lenga, waiting for permanent residency in the UK. Viewers learn about his violent past through flashbacks and his involvement with Frederica ‘Fred
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45

Javed, Muhammad Saleem. "گڈیکو نظر، افسانہ نا نفسیاتی جاچ اس". Al-Burz 13, № 1 (2021): 22–26. http://dx.doi.org/10.54781/abz.v13i1.261.

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Psychological analysis of Brahui short story is quite new in Brahui research. This paper describes the psychological disorders of various characters of ‘’Guddiko Nazar”. In the 1986 century Waheed Zaheer penned down “Guddiko Nazar”, a psychological short story in Brahui language. It was first published in his book “Shanza”. The aim of this paper was to reveal the mental disorders as depicted in the mentioned short story. Mental illness is a state of mind where psychological problems impose not only hurdles in a harmonious co-existence but create distress felt by the individual who suffers from
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Oramus, Dominika. "Strangers in Togetherville – Women, Physics and Popular Culture." Prague Journal of English Studies 9, no. 1 (2020): 133–53. http://dx.doi.org/10.2478/pjes-2020-0007.

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AbstractBy drawing on Jean Baudrillard’s cultural theory this paper aims to show how contemporary popular culture tells the stories of scientifically talented women of the past. In the course of my argument, I refer to books and films set in the past and focus on the women-and-science motif. Firstly, the stories of individual female scientists living long ago are analysed (Mileva Einstein, Joan Clarke), then, the collective female protagonists – wives of scientists living together in “togethervilles” (Los Alamos, Atomic City), and women scientists pictured in speculative fiction – are discusse
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Vice, Sue. "Memory Thieves?" English Language Notes 57, no. 2 (2019): 114–26. http://dx.doi.org/10.1215/00138282-7716196.

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Abstract This article examines the contemporary phenomenon of fiction and film about Holocaust survivors suffering from dementia. Earlier examples of this kind use dementia to explore the interior states of survivor guilt and the suppression of painful memories. By contrast, twenty-first-century representations convey the passing on of Holocaust memory to the next generation. These individuals, in the role of offspring or carers, act as the investigators and inheritors of a history that either has vanished from the survivor’s memory or appears in the present as if it were still taking place. S
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Dr., N. Gejeswari, and Subbulakshmi S. "THE EXISTENTIAL PAINS OF WOMEN: A STUDY ON ANITA DESAI'S NOVELS." International Journal of Current Research and Modern Education 3, no. 1 (2018): 612–15. https://doi.org/10.5281/zenodo.3242264.

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Feminism as an extension of Existentialism gets echoed in world literature. Indian English fiction is no exception to this. This Existential struggle to establish one’s identity, to assert one’s individuality and the desperate fight to exist as a separate entity appears in all its intensity in the novels of Anita Desai. Desai revealed the confrontation of man with himself and the question of his existence. The characters of Desai are alienated and lonely; existentialists, strangers and outsiders to their own land, try to search out their own identity, and always suffer from the gui
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Rye, Gill. "The ethics of aesthetics in trauma fiction: memory, guilt and responsibility in Louise L. Lambrichs’s Journal d’Hannah." Journal of Romance Studies 9, no. 3 (2009): 48–59. http://dx.doi.org/10.3828/jrs.9.3.48.

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Jastrzębska, Adriana Sara. "Narkopowieść latynoamerykańska: rzeczywistość z Szekspirem w tle." Literatura i Kultura Popularna 27 (December 29, 2021): 191–201. http://dx.doi.org/10.19195/0867-7441.27.14.

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Latin American literature is not rich in references to the works of Shakespeare, but rather focuses on its own tradition. The premise on which this article is based, however, is that the reality of the region displays Shakespearean characteristics.
 The aim of this article is to present a subgenre, or a literary convention, known as a narconovel. The configuration of the represented world in this noir novel variant is determined by the drug trade with its far-reaching social and cultural implications.
 The narconovel is an important part of the most recent literature in Colombia, Mex
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