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Artículos de revistas sobre el tema "Hidden Secrets, fiction"

Autor: Grafiati

Publicado: 28 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Walsh, Richard G. "Passover Plots." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 3, no. 2-3 (2010): 201–22. http://dx.doi.org/10.1558/post.v3i2/3.3.201.

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Various modern fictions, building upon the skeptical premises of biblical scholars, have claimed that the gospels covered up the real story about Jesus. Dan Brown’s The Da Vinci Code is one recent, popular example. While conspiracy theories may seem peculiar to modern media, the gospels have their own versions of hidden secrets. For Mark, e.g., Roman discourse about crucifixion obscures two secret plots in Jesus’ passion, which the gospel reveals: the religious leaders’ conspiracy to dispatch Jesus and the hidden divine program to sacrifice Jesus. Mark unveils these secret plots by minimizing

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2

Jarkas, Najla. "West Meets East as Monks Purge 'Infidels' in The Historian." International Journal of Arabic-English Studies 9, no. 1 (2008): 37–58. http://dx.doi.org/10.33806/ijaes2000.9.1.3.

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One more time, a work featuring the grotesque figure of the vampire emerges from the shackles of the Middle Ages to top the list of recent fiction best sellers. Already being translated into thirty-five languages and having been purchased for two million dollars from its first time novelist even before its publication, The Historian (2005) by Elisabeth Kostova entraps its readers in a series of breath-taking events promising to unravel deeply hidden ancient secrets and crucial truths. This paper looks at these so-called deeply held secrets showing that through the genre of the fantastic, rathe

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3

Zeuske, Michael. "Hidden markers, open secrets: on naming, race-marking, and race-making in Cuba." New West Indian Guide / Nieuwe West-Indische Gids 76, no. 3-4 (2002): 211–41. http://dx.doi.org/10.1163/13822373-90002535.

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Focuses on how in Cuba race-marking was interrelated with surname-giving, also after the abolition of slavery. Through researching life histories on the local level in the Cienfuegos region, the author examines names of former slaves, finding that these were after abolition in notarial records often marked with the adjectives s.o.a., or "sin otro apellido" (without other surname, taking into account the Iberian double surname tradition). This, according to him, points to a stigmatization of these black citizens and related to their former status as possession, and is thus a racial marker, only

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4

Grigorian, A. I. "THE FRAME STRUCTURE OF THE CONCEPT “SECRET” IN ENGLISH LITERARY DISCOURSE." Writings in Romance-Germanic Philology, no. 2(51) (December 19, 2023): 55–66. http://dx.doi.org/10.18524/2307-4604.2023.2(51).296820.

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The article is focused on the study of the frame structure of the concept of secret based on English-language literary fiction. A concept is a mental representation of knowledge about a certain object, phenomenon, feature, or action. There are different types of knowledge representation structures: mental model, scheme, image, frame, scenario, gestalt. It is the frame that allows us to cognitively represent knowledge about the world. A frame is a structure of information used to represent a stereotypical situation, which is why this study focuses on the frame representation of the analyzed con

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5

Heryliv, Nataliia. "FICTION TEXT AS A SHELTER FOR THE TRUE PAST." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 36 (2024): 30–35. http://dx.doi.org/10.17721/1728-2659.2024.36.05.

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Background. The article is devoted to the study of the problem of post-totalitarian trauma in modern Ukrainian literature, in particular in novels, which, thanks to their genre features, are able to depict not only phenomena, facts, but also broad contexts. The relevance of the research lies in the analysis of various human behavioral models caused by the activities of the totalitarian system, the so-called big changes that are finally reflected in the literary texts of modern authors as those who are ready to offer for articulation the silenced and hidden. The purpose of the study is to demon

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6

Teron, Recho Benjamin. "Revision, recreation and infusion of ancient mythological/legendary symbolism in the popular modern children's fiction - the Harry Potter canon by J.K. Rowling." International Journal of English Literature and Social Sciences 10, no. 4 (2025): 082–86. https://doi.org/10.22161/ijels.104.13.

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The Harry Potter books written by British author J.K. Rowling has been the most widely read of all contemporary children's fiction surpassing all sales records of the genre. Set in modern times but in a magical world co-existing with the non-magical, one of the most noticeably prominent characteristic of the Harry Potter canon is the clever use of ancient myths/folktales/legends in the magical world of Harry Potter, revising and bringing them to life for youthful modern readers. The paper seeks to study and compare the earliest records of the myths/legends and the incorporation and recreation

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7

Sebastian Serwiak. "Cyberterroryzm – nowe zagrożenie dla bezpieczeństwa." Archives of Criminology, no. XXVIII (January 29, 2006): 345–65. http://dx.doi.org/10.7420/ak2005-2006w.

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The face of terrorism is changing. Even the motivations do not remain the same as 10–20 years ago. Now, we are facing the emergence of a new category of an offensive gear unknown before. Intelligent networks, telecommunications infrastructure, security procedures and computer equipment once designed and expected to serve and protect people have become terrorist weapons. States and nations are currently almost powerless against this new and destructive phenomenon. The procedures and methods of countering terrorism, which world's specialists have created and perfected over the past decades, are

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8

Viidalepp, Auli. "Representations of robots in science fiction film narratives as signifiers of human identity." Információs Társadalom 20, no. 4 (2020): 19. http://dx.doi.org/10.22503/inftars.xx.2020.4.2.

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Recent science fiction has brought anthropomorphic robots from an imaginary far-future to contemporary spacetime. Employing semiotic concepts of semiosis, unpredictability and art as a modelling system, this study demonstrates how the artificial characters in four recent series have greater analogy with human behaviour than that of machines. Through Ricoeur’s notion of identity, this research frames the films’ narratives as typical literary and thought experiments with human identity. However, the familiar sociotopes and technoscientific details included in the narratives concerning data, priv

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9

Fox, Renée. "Gothic Realism, or Reading is Believing in Dracula." Irish University Review 53, no. 1 (2023): 9–26. http://dx.doi.org/10.3366/iur.2023.0587.

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This essay explores the ways Bram Stoker brings eighteenth-century affective gothic reading practices to bear on Victorian fiction’s investments in realism. By investigating modes of affective reading in Dracula, the essay develops a definition of ‘gothic realism’ to describe an affective experience of the real that gothic fiction offers in place of verisimilitude and representations of everyday life. Beginning by tracing the explicit and implicit histories of this term through both literary criticism and the gothic tradition, the essay turns to Dracula to discover an alternative definition of

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10

Pyykkö, Sonja. "Disclosing Structures: Scenes of Confession in Pale Fire." Nabokov Studies 19, no. 1 (2023): 23–46. http://dx.doi.org/10.1353/nab.2023.a937381.

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Abstract: The role that confession plays in Nabokov's fiction remains poorly understood, though the same can be said for confessional fiction in general. Part of the problem lies in the slipperiness of the word "confession" itself, which is why this essay begins by defining confession as a performative speech act through which the speaking or writing subject seeks to form, reform, and transform herself, addressing herself to another who is called to act as a witness to this creative act of self(trans)formation—a process akin to Nabokov's own description of a poet (not a "loony") who "peels off

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11

Barba, Eugenio. "The Actor's Energy: Male/Female versus Animus/Anima." New Theatre Quarterly 3, no. 11 (1987): 237–40. http://dx.doi.org/10.1017/s0266464x00015220.

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INTEREST IN ACTORS who play female roles and actresses who play male roles is periodically rekindled. At such times, one might almost suspect that behind these disguises, these contrasts between reality and fiction, lie hidden one of the theatre's secret potentialities. One also often speaks of the actor's female side and the actress's male side, and attempts to develop these forthwith by means of apposite exercises.

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Myk, Małgorzata. "Life Fictions: Radicalization of Life-Writing in Leslie Scalapino’s Zither & Autobiography and Dahlia’s Iris: Secret Autobiography & Fiction." Studia Anglica Posnaniensia 50, no. 2-3 (2015): 127–40. http://dx.doi.org/10.1515/stap-2015-0028.

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Abstract The paper discusses radicalized aesthetics and politics of structure and form in the experimental autobiographical writing of American avant-garde author Leslie Scalapino. Associated with the innovative protocols of the “Language School” poetry movement, Scalapino’s oeuvre emerges as simultaneously a poststructuralist and phenomenologically oriented poetics in which writing performs a thoroughgoing scrutiny of how one’s implication in linguistic and cultural matrices determines one’s being in the world. Scalapino’s Autobiography, framed by Paul de Man’s remarks on autobiographical wri

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Grogan, Bridget. "The Decorative Voice of Hidden, Secret Flesh: Corporeal Dynamics in Patrick White’s Fiction." Journal of Literary Studies 30, no. 2 (2014): 1–16. http://dx.doi.org/10.1080/02564718.2014.919110.

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14

Flothow, Dorothea. "Aphra Behn in Crime Fiction – The Writer’s Afterlives in Recent Novels." Crime Fiction Studies 5, no. 1 (2024): 83–97. http://dx.doi.org/10.3366/cfs.2024.0112.

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As part of a wider trend of remedying the past neglect of historic women, their lives are currently being reimagined by writers and artists. This has led to a proliferation of biopics, biofiction and (popular) biographies dedicated to this task. Crime fiction writers, likewise, have approached secret, hidden lives of forgotten females. This paper examines how recent crime novels have re-created the life of the early-modern writer Aphra Behn (1640–1689), employing typical features of the genre. Aphra Behn has recently received much attention: she is famed as the first female writer to have ‘mad

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15

Golubkov, Andrey V. "Paving the Road to the Historical Novel: “Les Histoires Secrètes” in France at the Turn of the 17th and 18th Centuries." Studia Litterarum 5, no. 4 (2020): 88–101. http://dx.doi.org/10.22455/2500-4247-2020-5-4-88-101.

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This article examines the genre of “secret history” which gained widespread currency in France after the publication of the book Anecdotes of Florence: or, A Secret History of the House of Medici (1685) by Antoine de Varillas. The preface to the book gives an overview of the theory of the genre that welcomes representation of hidden, sometimes “dishonorable” or “insignificant” premises of important events, usually ignored by official historiographers who tend to focus on the façade of their protagonist’s life. Authors of such “secret” stories are advised to use gossips obtained from the “royal

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16

Wushishi, Ibrahim Adam, and Idris Sehui. "Temporal and Spatial Philosophy in Confessions of Tam Seti." Dzil Majaz: Journal of Arabic Literature 1, no. 2 (2023): 99–118. http://dx.doi.org/10.58223/dzilmajaz.v1i2.72.

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The study attempts to reveal the aesthetic system and techniques of fictional work, the hidden secrets of narrative narrative expression, and its highly distinguished means in Tam City novel by Azzedine Mihoubi. In order to achieve three things, the first: the work of the contemporary Algerian-Arab novelist and its artistic development, the second: time and the philosophy of the narrator in defining it, and the third: time and place and the bankruptcy of the narrator in his allocation. Because the language used in the novel gave it a rare and beautiful soul, which distinguishes it from most Al

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Pluwak, Anita. "Staging the "Stolen Transition": Conspiracy and Collusion in Postsocialist Crime Fiction." Slavic Review 83, no. 1 (2024): 58–72. https://doi.org/10.1017/slr.2024.308.

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This article explores how three popular crime novels from the 2000s articulate postsocialist Poland’s most prevalent conspiracy narrative: that of a hidden network (układ) of communist-era secret service agents that have allegedly penetrated the structures and economy of the post-1989 state, thus “stealing” the transition to democracy and capitalism, and making it impossible for the new system to thrive. Whereas previous research has dealt mainly with the political content of this narrative and the way it has been employed in political discourse, this article focuses on its c

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Pluwak, Anita. "Staging the “Stolen Transition”: Conspiracy and Collusion in Postsocialist Crime Fiction." Slavic Review 83, no. 1 (2024): 58–72. http://dx.doi.org/10.1017/slr.2024.308.

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AbstractThis article explores how three popular crime novels from the 2000s articulate postsocialist Poland’s most prevalent conspiracy narrative: that of a hidden network (układ) of communist-era secret service agents that have allegedly penetrated the structures and economy of the post-1989 state, thus “stealing” the transition to democracy and capitalism, and making it impossible for the new system to thrive. Whereas previous research has dealt mainly with the political content of this narrative and the way it has been employed in political discourse, this article focuses on its cultural si

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19

Salani, Barbara. "Silent Echoes: Unveiling Puccini's Hidden Truths in the Wordless Film Puccini e la fanciulla (2008) by Paolo Benvenuti." Italica 101, no. 4 (2024): 592–624. https://doi.org/10.5406/23256672.101.4.06.

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Abstract A recent yet overlooked Italian film—Puccini e la fanciulla (Puccini and the Girl) by Paolo Benvenuti—delves into the life of national icon and renowned composer Giacomo Puccini. This cinematic exploration presents a fresh perspective on the composer's biography, balancing fiction and historical representation, prompting questions about the essence of film historiography. Can movies genuinely reflect historical events, or do they inevitably drift into the realm of fiction? Benvenuti's discovery of a secret suitcase containing letters, original photos, and the documentary film Un Giorn

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20

Gabriela, Chiciudean. "MAGICAL REALISM AND “HALLUCINATORY” REALISM IN TWO OF LAURA IMAI MESSINA’ S NOVELS." Incursions Into The Imaginary 15, no. 1 (2024): 277–98. https://doi.org/10.29302/inimag.2024.15.1.11.

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Magical realism, specific to Latin American literature, surpasses borders and becomes a technique widely used in various world literatures. Superimposed on the familiar, it lives alongside the elements of everyday life and manifests itself through an ‘alteration’ of the familiar and the daily routine under the intervention of unusual events which cannot be explained by ‘realistic’ patterns. In the novels “The Phone Booth at the Edge of the World” and “The Hidden Life of Colours” by Laura Imai Messina, both having Japan as a background, we discover fictional universes achieved through the techn

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Piatti-Farnell, Lorna. "What’s Hidden in Gravity Falls: Strange Creatures and the Gothic Intertext." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.859.

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Discussing the interaction between representation and narrative structures, Anthony Mandal argues that the Gothic has always been “an intrinsically intertextual genre” (Mandal 350). From its inception, the intertextuality of the Gothic has taken many and varied incarnations, from simple references and allusions between texts—dates, locations, characters, and “creatures”—to intricate and evocative uses of style and plot organisation. And even though it would be unwise to reduce the Gothic “text” to a simple master narrative, one cannot deny that, in the midst of re-elaborations and re-interpret

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Bruns, Axel. "The Fiction of Copyright." M/C Journal 2, no. 1 (1999). http://dx.doi.org/10.5204/mcj.1737.

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It is the same spectacle all over the Western world: whenever delegates gather to discuss the development and consequences of new media technologies, a handful of people among them will stand out from the crowd, and somehow seem not quite to fit in with the remaining assortment of techno-evangelists, Internet ethnographers, multimedia project leaders, and online culture critics. At some point in the proceedings, they'll get to the podium and hold a talk on their ideas for the future of copyright protection and intellectual property (IP) rights in the information age; when they are finished, th

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Howell, Katherine. "The Suspicious Figure of the Female Forensic Pathologist Investigator in Crime Fiction." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.454.

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Over the last two decades the female forensic pathologist investigator has become a prominent figure in crime fiction. Her presence causes suspicion on a number of levels in the narrative and this article will examine the reasons for that suspicion and the manner in which it is presented in two texts: Patricia Cornwell’s Postmortem and Tess Gerritsen’s The Sinner. Cornwell and Gerritsen are North American crime writers whose series of novels both feature female forensic pathologists who are deeply involved in homicide investigation. Cornwell’s protagonist is Dr Kay Scarpetta, then-Chief Medica

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Richardson, Sarah Catherine. "“Old Father, Old Artificer”: Queering Suspicion in Alison Bechdel’s Fun Home." M/C Journal 15, no. 1 (2012). http://dx.doi.org/10.5204/mcj.396.

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Halfway through the 2006 memoir comic Fun Home, the reader encounters a photograph that the book’s author, Alison Bechdel, found in a box of family snapshots shortly after her father’s death. The picture—“literally the core of the book, the centrefold” (Bechdel qtd. in Chute “Interview” 1006)—of Alison’s teenaged babysitter, Roy, erotically reclining on a bed in only his underwear, is the most tangible and direct evidence of her father’s sexual affairs with teenage boys, more confronting than his own earlier confession. Through this image, and a rich archive of familial texts, Bechdel chronicl

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Taveira, Rodney. "Don DeLillo, 9/11 and the Remains of Fresh Kills." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.281.

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It’s a portrait of grief, to be sure, but it puts grief in the air, as a cultural atmospheric, without giving us anything to mourn.—— Tom Junod, “The Man Who Invented 9/11”The nearly decade-long attempt by families of 9/11 victims to reclaim the remains of their relatives involves rhetorics of bodilessness, waste, and virtuality that offer startling illustrations of what might be termed “the poetics of grief.” After combining as the WTC Families for Proper Burial Inc. in 2002, the families sued the city of New York in 2005. They lost and the case has been under appeal since 2008. WTC Families

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Balanzategui, Jessica. "“You have a secret that you don't want to tell me”: The Child as Trauma in Spanish and American Horror Film." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.854.

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In the years surrounding the turn of the millennium, there emerged an assemblage of American and Spanish horror films fixated on uncanny child characters. Caught in the symbolic abyss between death and life, these figures are central to the films’ building of suspense and Gothic frisson—they are at once familiar and unfamiliar, vulnerable and threatening, innocent yet unnervingly inscrutable. Despite being conceived and produced in two very different cultural climates, these films construct the child as an embodiment of trauma in parallel ways. In turn, these Gothic children express the waveri

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Rupprecht, Caroline. "Melzer and the Dead Sea Scrolls: Anna Seghers’s GDR novel Die Entscheidung (1959)." Leo Baeck Institute Year Book, July 17, 2024. http://dx.doi.org/10.1093/leobaeck/ybae004.

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Abstract This article is about German-Jewish author Anna Seghers (1900–1983), who spent half of her productive life in the German Democratic Republic (East Germany). Though Seghers is known for her works from the 1930s and 1940s such as The Seventh Cross (1942), about a prisoner who escapes from a concentration camp, little has been published about her writings under communism, after she returned from fourteen years of exile, having survived National Socialism while active in the resistance. Her mother and aunt were murdered in the Shoah, and Seghers ostensibly discontinued addressing the Nati

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Piatti-Farnell, Lorna. "Words from the Culinary Crypt: Reading the Cookbook as a Haunted/Haunting Text." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.640.

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Cookbooks can be interpreted as sites of exchange and transformation. This is not only due to their practical use as written instructions that assist in turning ingredients into dishes, but also to their significance as interconnecting mediums between teacher and student, perceiver and perceived, past and present. Hinging on inescapable notions of apprenticeship, occasion, and the passing of time—and being at once familiar and unfamiliar to both the reader and the writer—the recipe “as text” renders a specific brand of culinary uncanny. In outlining the function of cookbooks as chronicles of t

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

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

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

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

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Rimbaud, Robin. "Scan and Deliver." M/C Journal 8, no. 4 (2005). http://dx.doi.org/10.5204/mcj.2390.

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   As I sit here, the radio announcer announces a feature on the forthcoming Big Brother series, another chance to engage in this collective shared experience, another opportunity to revel in your very own voyeuristic impulse, what once was private is now made public.   Curiously it’s almost fifteen years ago since I released the first Scanner recordings Scanner 1 [1992] and Scanner 2 [1993] featuring the intercepted cellular phone conversations of unsuspecting talkers, which I edited into minimalist musical settings as if they were instruments, bringing into focu

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Hadley, Bree, and Rebecca Caines. "Negotiating Selves: Exploring Cultures of Disclosure." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.207.

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If identity is a construct—and, more critically, a construct defined and developed through relationships with others in public and private spheres—then an understanding of the processes, mechanisms and platforms by which individuals disclose information about themselves is crucial in understanding the way identity, community and culture function, and the way individuals can intervene in the functioning of culture.In this issue of M/C Journal, contributors from the U.S., U.K., and Australia consider the personal, professional and social consequences of disclosure in autobiographical art, commun

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Brammer, Rebekah, Lisa J. Hackett, and Jo Coghlan. "From Noir to Neo-Noir." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3150.

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Though the ‘official’ film noir period ended more than 60 years ago, the enigmatic allure of noir endures, lingering like the smoke from a femme fatale’s cigarette. IMDB defines the classic film noir period of American cinema as beginning with the film Underworld (1927) and ending with Touch of Evil (1958), while many consider that John Houston’s The Maltese Falcon (1941), an adaptation of Dasheill Hammett’s hard-boiled detective novel, as launching the classic noir cycle. Classic noir is immediately recognisable for its characters: the brooding detective and sultry femme fatale; its themes of

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Leung, Colette. "The Orphan King by S. Brouwer." Deakin Review of Children's Literature 4, no. 1 (2014). http://dx.doi.org/10.20361/g21s5s.

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Brouwer, Sigmund. The Orphan King. Merlin’s Immortals 1. Colorado: WaterBrook Press, 2012. Print.This young adult fantasy novel is the story of a young man named Thomas. Thomas is raised as an orphan in a monastery run by greedy and corrupt monks who eat food and take money instead of helping others. This monastery is set in Northern England, during AD 1312, and Brouwer’s medieval world is portrayed as one filled with corruption and poverty, where select few are working to improve the lives of others and strive towards a greater good. These few work in secret, and are known as Merlin’s Immorta

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Taylor, Alison. "“There’s Suspicion, Nothing More” — Suspicious Readings of Michael Haneke’s Caché (Hidden, 2005)." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.384.

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Michael Haneke’s film Caché tells the story of a bourgeois family in peril. The comfortable lives of the Laurents—husband Georges (Daniel Auteuil), wife Anne (Juliette Binoche), and teenage son Pierrot (Lester Makedonsky)—are disrupted when surveillance tapes of their home and private conversations are delivered to them anonymously. Ostensibly Caché sits in a familiar generic framework: the thriller narrative of a family under threat is reminiscent of films such as The Desperate Hours (1955), Cape Fear (1962), and Straw Dogs (1971). The weight of outside forces causes tension within the family

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

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

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Kazankov, A. I. "Топология провинциальной повседневности в первой половине ХХ в. по материалам цикла «Местность тут очень хорошая...»". Вестник гуманитарного образования, № 2 (25 грудня 2018). http://dx.doi.org/10.25730/vsu.2070.18.029.

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The article is a continuation of the cycle of works devoted to the reconstruction of the basic structures of the provincial everyday life of the Western Urals in the twenties and thirties of the twentieth century. The work is based on original sources – archival and investigative cases of the Orthodox clergy and «church people», stored in the Perm State Archive of Socio‑Political Studies. This time the object of reconstruction is the topology of the everyday space. Applying the clue‑based paradigm to the materials of the «inquisitorial anthropology», the author subsequently unfolds one area af

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

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

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Hanscombe, Elisabeth. "A Plea for Doubt in the Subjectivity of Method." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.335.

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Photograph by Gonzalo Echeverria (2010)Doubt has been my closest companion for several years as I struggle to make sense of certain hidden events from within my family’s history. The actual nature of such events, although now lost to us, can nevertheless be explored through the distorting lens of memory and academic research. I base such explorations in part on my intuition and sensitivity to emotional experience, which are inevitably riddled with doubt. I write from the position of a psychoanalytic psychologist who is also a creative writer and my doubts increase further when I use the autobi

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Brabon, Katherine. "Wandering in and out of Place: Modes of Searching for the Past in Paris, Moscow, and St Petersburg." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1547.

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IntroductionThe wandering narrator is a familiar figure in contemporary literature. This narrator is often searching for something abstract or ill-defined connected to the past and the traces it leaves behind. The works of the German writer W.G. Sebald inspired a number of theories on the various ways a writer might intersect place, memory, and representation through seemingly aimless wandering. This article expands on the scholarship around Sebald’s themes to identify two modes of investigative wandering: (1) wandering “in place”, through a city where a past trauma has occurred, and (2) wande

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Warner, Kate. "Relationships with the Past: How Australian Television Dramas Talk about Indigenous History." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1302.

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In recent years a number of dramas focussing on Indigenous Australians and Australian history have appeared on the ABC, one of Australia's two public television channels. These dramas have different foci but all represent some aspects of Australian Indigenous history and how it interacts with 'mainstream' representations of Australian history. The four programs I will look at are Cleverman (Goalpost Pictures, 2016-ongoing), Glitch (Matchbox Films, 2015-ongoing), The Secret River (Ruby Entertainment, 2015) and Redfern Now (Blackfella Films, 2012), each of which engages with the past in a unique

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Baker, Sarah. "The Walking Dead and Gothic Excess: The Decaying Social Structures of Contagion." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.860.

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The Walking Dead is an American post-apocalyptic horror drama television series based on the comic book series of the same name. In the opening episode, Sheriff’s Deputy Rick Grimes awakens after months in a coma in an abandoned hospital to find a post-apocalyptic world dominated by flesh eating zombies. The cause of the apocalypse is unknown, and Grimes does not know what has happened to his family. The start of the programme is situated around his quest to find his family, and the encounters he has with the many other survivors along the way. The plot of The Walking Dead centres on the survi

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Speakman, Blair Ian. "“Poor creature, trapped in existential solitude forever”: Gothic Dreams of the Uncanny, Repetition, Temporal Loops, and the Double in The Chilling Adventures of Sabrina." M/C Journal 23, no. 1 (2020). http://dx.doi.org/10.5204/mcj.1642.

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IntroductionAccording to Sigmund Freud (A General Introduction to Psychoanalysis 90), dreams can be seen as a “substitute for something else, unknown to the dreamer”. In Freud’s theory, dreams are regarded as a “depiction of the subconscious, a screen onto which the subconscious projects its suppressed desires and hallucinations about their fulfilment” (Khapaeva & Tweddle 6). It is likely due to these aspects that dreams and dreaming have become prevalent in contemporary literature, film and television, and an outlet for a greater examination of Freud’s work on the origins and nature of th

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Piatti-Farnell, Lorna, and Lloyd Carpenter. "Intersections of History, Media, and Culture." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1323.

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For many, the very idea of ‘history’ calls into question narratives of the past, distant and disconnected from our contemporary moment, and out of tune with the media-centred world of our post-2000 popular culture. This approach to history, however, is based on profound misconceptions, and does not take into account the fact that the present is history: we experience our historical moment via multiple and multi-faceted media practices, from using social media to watching movies, from watching television to consuming food. The past is, in turn, never far removed from our contemporary and everyd

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Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.880.

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In a field of study as well-established as the Gothic, it is surprising how much contention there is over precisely what that term refers to. Is Gothic a genre, for example, or a mode? Should it be only applicable to literary and film texts that deal with tropes of haunting and trauma set in a gloomy atmosphere, or might it meaningfully be applied to other cultural forms of production, such as music or animation? Can television shows aimed at children be considered Gothic? What about food? When is something “Gothic” and when is it “horror”? Is there even a difference? The Gothic as a phenomeno

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Campanioni, Chris. "How Bizarre: The Glitch of the Nineties as a Fantasy of New Authorship." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1463.

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As the ball dropped on 1999, is it any wonder that No Doubt played, “It’s the End of the World as We Know It” by R.E.M. live on MTV? Any discussion of the Nineties—and its pinnacle moment, Y2K—requires a discussion of both the cover and the glitch, two performative and technological enactments that fomented the collapse between author-reader and user-machine that has, twenty years later, become normalised in today’s Post Internet culture. By staging failure and inviting the audience to participate, the glitch and the cover call into question the original and the origin story. This breakdown of

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Grant-Frost, Rowena. "Love in the Time of Socialism: Negotiating the Personal and the Social in Florian Henckel von Donnersmarck’s The Lives of Others." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.392.

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After grossing more than $80 million at the international box office and winning the 2007 Academy Award for Best Foreign Language Film, the international success of Florian Henckel von Donnersmarck’s 2006 film The Lives of Others has popularised the word “Stasi” as a “default global synonym” for the terrors associated with surveillance (Garton Ash). Just as representations of Nazism have become inextricably entwined with a specific kind of authoritarian, murderous dictatorship, Garton Ash argues that so too the Stasi and its agents have come to stand in for a certain kind of authoritarian dict

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Sweeny, Robert. "Code of the Streets: Videogames and the City." M/C Journal 9, no. 3 (2006). http://dx.doi.org/10.5204/mcj.2637.

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   Cities are shared spaces. As the massive worldwide Iraq war protests that began in 2002 indicate, the structure of the city allows for the presentation of social statements, where large groups can gather, share ideas or argue beliefs, and where media outlets can broadcast these activities. While cities enable these forms of interaction, digital technologies also allow for worldwide connections, both through communication and entertainment. What is the relationship between the shared, often contested spaces of the city and how they are represented in interactive media such

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Harrison, Paul. "Remaining Still." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.135.

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A political minimalism? That would obviously go against the grain of our current political ideology → in fact, we are in an era of political maximalisation (Roland Barthes 200, arrow in original).Barthes’ comment is found in the ‘Annex’ to his 1978 lecture course The Neutral. Despite the three decade difference I don’t things have changed that much, certainly not insofar as academic debate about the cultural and social is concerned. At conferences I regularly hear the demand that the speaker or speakers account for the ‘political intent’, ‘worth’ or ‘utility’ of their work, or observe how spea

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Collins-Gearing, Brooke, Vivien Cadungog, Sophie Camilleri, et al. "Listenin’ Up: Re-imagining Ourselves through Stories of and from Country." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1040.

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This story not for myself … all over Australia story.No matter Aborigine, White-European, secret before,Didn’t like im before White-European…This time White-European must come to Aborigine,Listen Aborigine and understand it.Understand that culture, secret, what dreaming.— Senior Lawman Neidjie, Story about Feeling (78)IntroductionIn Senior Lawman Neidjie’s beautiful little book, with big knowledge, Story about Feeling (1989), he shares with us, his readers, the importance of feeling our connectedness with the land around us. We have heard his words and this is our effort to articulate our resp

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