Bibliografías temáticas / Stalkers (fiction)

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Literatura académica sobre el tema "Stalkers (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 "Stalkers (fiction)"

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Р.В., Любарский,. "Carlos Castanedaʼs Concepts in Viktor Pelevinʼs Novel “Secret Views of Mount Fuji”". Вестник Рязанского государственного университета имени С.А. Есенина, № 3(76) (6 січня 2023): 92–103. http://dx.doi.org/10.37724/rsu.2022.76.3.010.

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Актуальность изучения влияния идей Карлоса Кастанеды на творчество Виктора Пелевина определяется тем, что проблема художественной условности становится одной из привлекающих внимание исследователей. Вторичная условность в творчестве Пелевина рассматривается в рамках обновления нереалистических художественных приемов. Проблема вторичной условности характеризуется новым подходом использования эзотерического в современных постмодернистских романах, в том числе и через концепции Кастанеды, чем продиктована своевременность обращения к данной теме. В частности, обновление художественной условности с
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Salvestroni, Simonetta. "The Science–Fiction Films of Andrei Tarkovsky." Science Fiction Studies 14, Part 3 (1987): 294–306. https://doi.org/10.1525/sfs.14.3.0294.

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Tarkovsky is the Soviet director responsible for two masterpieces of SE film: Solaris (1972), based on the book of the same title by Lem, and Stalker (1980), adapted from the Strugatsky brothers’ Roadside Picnic. Working primarily in terms of images, Tarkovsky organizes these films (like his previous ones) around a bipolarity: between Solaris and the contemporary USSR (or, more broadly, the technologized world) in the one film; between the monochromatic quotidian world and the colorful, marvelous Zone in the other. But while taking the polarities of a binary logic as his starting point, his fi
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Gadelha Parente, Lucas. "Da Zona enquanto espaço pregnante." Revista Prumo 4, no. 7 (2019): 124–37. http://dx.doi.org/10.24168/revistaprumo.v4i7.1132.

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The present article results from research around the concept of Zone in what refers to a boundary, symbolic and urban space that activates multiple networks of meaning according to its use in social history, literature, cinema, urbanism and theory of art. Secondly, the text deals with the stalker as a character who traces the paths of the Zone. The article analyzes its emergence in Soviet science fiction, in modern cinema, and its unfolding in theoretical discussions, relating both to cyberspace and to a number of contemporary pedestrian practices. Key-Words: cyberspace; misery belt; science f
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Sabourín, Vladimir. "Crossing with Hegel the Zones of the Late Soviet (Anti)Utopia." Filosofiya-Philosophy 33, no. 4 (2024): 440–53. https://doi.org/10.53656/phil2024-04-07.

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During the late Soviet era, science fiction was one of the first zones of its ideological cosmos, registering the exhaustion of the communist utopia precisely within the literary genre aimed at its representation. In this article I consider the history of the “editing to death” of the Strugatsky brothers’ short novel Roadside Picnic as a representative case of the anti-utopian “uneasiness in civilization” of late actually existing socialism. Simultaneously with the censorship taming of the uneasiness, the Strugatsky’s science fiction dystopia underwent a radical interpretation in Andrei Tarkov
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Vladiv-Glover, Slobodanka. "Belief in Zamyatin’s we and Tarkovsky’s Stalker: Critique Versus Legitimation of Utopia Through Art." Transcultural Studies 9, no. 1 (2013): 31–45. http://dx.doi.org/10.1163/23751606-00901003.

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The paper offers a comparative analyses of a novel and a film with a science fiction theme, but instead of interpreting the theme, the analysis interprets the structure of the two works. The claim is made that the narrative structure of a work (which, according to the Structuralist model, is much more encompassing than the linear narrative) is implicated in the construction of belief and value. On analysis, the value constructed in Zamyatin’s novel is that of a heterogeneous Modernist subject of the unconscious, while Tarkovsky’s film is ambivalent but could be read as a pseudo-scientific utop
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SARHAN, QASSIM, and ZAHRAA' SAHIB. "The Sympathetic Vampire:A Study of Anne Rice’s Interview with the Vampire." Kufa Journal of Arts 1, no. 18 (2014): 33–60. http://dx.doi.org/10.36317/kaj/2013/v1.i18.6429.

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The myth of the vampire has continued to frighten and fascinate people all over the world. The idea of an undead night-stalker that feeds on human blood has been around for centuries and endures to this day. Numerous countries and cultures across the globe have personal deviations of a similar mythical entity. No matter the variation, all the vampire tales have a key commonality ‒ the lust for human blood. The cornerstone upon which all the vampire characters now turn was established in 1897 byBram Stoker in his novel Dracula which, since its publication, has never been out of print and its ti
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Pala, Mauro. "Dystopia Revisited: Biopolitics as Remedy and Response to Philip K. Dick’s Do Androids Dream of Electric Sheep?" Caietele Echinox 46 (June 1, 2024): 323–34. http://dx.doi.org/10.24193/cechinox.2024.46.24.

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Philip K. Dick’s science fiction classic Do Androids Dream of Electrics Sheep? and its adaptation movie Blade Runner by Ridley Scott feature a devastated earth where bounty hunter Rick Deckard stalks authentic human replicants, designed for a short term highly flexible labor power. A group of these androids infiltrate to the earth of the productive apparatus which manufactured them, trying to persuade their maker to re-program their genetic makeup. Biopolitics as conceived by Roberto Esposito is apt at exploiting the reserves of sense present in Dick’s critical scenario, and managing the mixin
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Bugaeva, Lyubov D. "Tarkovsky’s Influence on American Culture (“Weird” and “Eerie” Cosmos of Christopher Nolan, Jonathan Nolan, and Andrei Tarkovsky)." Literature of the Americas, no. 17 (2024): 175–91. https://doi.org/10.22455/2541-7894-2024-17-175-191.

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In the United States, attention to Andrei Tarkovsky’s work has been extensive: Tarkovsky is an important reference point for both filmmakers and film theorists. Paul Schrader refers to him as a transcendental filmmaker and, moreover, introduces the notion of “Tarkovsky’s ring”, with which he correlates transcendental slow cinema that is experimental in nature. The forms and ways that American directors refer to Tarkovsky, who regard him as a cultural resource, are diverse: from overlaps at the level of visual images and frame composition to correspondences at the conceptual level and coinciden
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Tiezzi, Ricardo, and Daniel De Thomaz. "A ESCRITA DO CORPO E O CORPO DA ESCRITA." Revista Crítica Cultural 18, no. 2 (2024): 261–68. http://dx.doi.org/10.59306/rcc.v18e22023261-268.

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This article seeks to reflect on the presence of the body in literature, with some reverberations in cinema. In general, we do not ask ourselves about the participation of the body in the creative act of writing. Writing tends to be perceived as a reflexive and even spiritual act, still leaving in the shadows what writing can have of sensorial, organic flow rather than mental matter. In a first moment, we establish the dichotomy between expression via logical thought or via pulsional body in two characters: the musician Johnny, from the short story The Stalker, by Cortázar, and the stray son A
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Manning, Pascale M. "“There is nothing human in nature”." Nineteenth-Century Literature 74, no. 4 (2020): 473–501. http://dx.doi.org/10.1525/ncl.2020.74.4.473.

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Pascale M. Manning, “‘There is nothing human in nature’: Denying the Anthropocene in Richard Jefferies” (pp. 473–501) This essay contends that the work of the nineteenth-century British writer and naturalist Richard Jefferies embodies both a recognition and a radical denial of the Anthropocene, expressing a nascent form of the ambivalence that stalks our contemporary recognitions and misrecognitions of the human in/and nature. Drawing upon a range of Jefferies’s writings—both his essays and his autobiography in addition to his fiction—it argues that there exists in Jefferies’s work a recurring
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Tesis sobre el tema "Stalkers (fiction)"

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Cederlöf, Henriette. "Alien Places in Late Soviet Science Fiction : The "Unexpected Encounters" of Arkady and Boris Strugatsky as Novels and Films." Doctoral thesis, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105822.

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This dissertation deals with how science fiction reflects the shift in cultural paradigms that occurred in the Soviet Union between the 1960s and the 1970s. Interest was displaced from the rational to the irrational, from a scientific-technologically oriented optimism about the future to art, religion, philosophy and metaphysics. Concomitant with this shift in interests was a shift from the future to an elsewhere or, reformulated in exclusively spatial terms, from utopia to heterotopia. The dissertation consists of an analysis of three novels by the Strugatsky brothers (Arkady, 1925-1991 and B
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Libros sobre el tema "Stalkers (fiction)"

1

Edward, Gorman, and Greenberg Martin Harry, eds. Stalkers. Penguin Books, 1990.

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Edward, Gorman, and Greenberg Martin Harry 1941-, eds. Stalkers. Severn House, 1991.

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3

Copyright Paperback Collection (Library of Congress), ed. Night Stalkers. Berkley Books, 2005.

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Buchman, M. L. Wait until dark: The night stalkers. Sourcebooks Casablanca, 2013.

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Jungersen, Christian. Undtagelsen: Roman. Gyldendal, 2004.

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Edward, Gorman, Greenberg Martin Harry, and Koontz Dean R. 1945-, eds. Stalkers: All new tales of terror and suspense. Dark Harvest, 1989.

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Brand, Irene B. Yuletide Stalker. Steeple Hill, 2009.

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Forster, Suzanne. Every breath she takes. Jove Books, 1999.

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Coulter, Catherine. Grekhi ott͡sov. Izd-vo AST, 2002.

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10

Valanis, Kallya. Hell in paradise. Commonwealth Publications, 1996.

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Capítulos de libros sobre el tema "Stalkers (fiction)"

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Banaszkiewicz, Magdalena, and Jonathan Skinner. "17 Exclusion Tourism: Sci-Fi Stalkers and Subjunctive Plays in Apocalyptic Destinations from Chernobyl to Plymouth, Montserrat." In Science Fiction, Disruption and Tourism. Multilingual Matters, 2022. http://dx.doi.org/10.21832/9781845418687-020.

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Hoel, Jon. "Pliancy and Weakness (Character Examinations)." In Stalker. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348332.003.0002.

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This chapter is an in-depth analysis on each of the individual characters in the film Stalker and their relations with one another and the plot. This includes an elongated comparison to Dostoyevsky’s The Idiot, as well as comparisons with some western films, Raiders of the Lost Ark and The Matrix, as well as a look at some of Tarkovsky’s other films, including, notably, Solaris, his other Science-fiction film, made a couple of years previously to Stalker. The chapter also takes a look at Tarkovsky’s tendency to underwrite female characters in his films, through the lens of an uncomfortable int
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"Tarkovsky, Solaris, and Stalker." In Russian Science Fiction Literature and Cinema. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618117243-013.

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DALTON, STEPHEN. "Tarkovsky, Solaris, and Stalker." In Russian Science Fiction Literature and Cinema. Academic Studies Press, 2018. http://dx.doi.org/10.2307/j.ctv1zjg89m.15.

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Woolf, Virginia. "Kew Gardens." In Kew Gardens and Other Short Fiction. Oxford University Press, 2022. http://dx.doi.org/10.1093/owc/9780198838135.003.0002.

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From the oval shaped flower-bed there rose perhaps a hundred stalks spreading into heart shaped or tongue shaped leaves half way up and unfurling at the tip red or blue or yellow petals marked with spots of colour raised upon the surface; and from...
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Woolf, Virginia. "Kew Gardens." In The Mark on the Wall and Other Short Fiction, edited by David Bradshaw. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199554997.003.0002.

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From the oval shaped flower–bed there rose perhaps a hundred stalks spreading into heart shaped or tongue shaped leaves halfway up and unfurling at the tip red or blue or yellow petals marked with spots of colour raised upon the surface; and from the...
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Trotter, David. "A Brief History of Paranoia." In Paranoid Modernism. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198187554.003.0002.

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Abstract If any text can claim biblical status in the collective self-understanding of a profession, it is the current (fourth) edition of the American Psychiatric Association’s Diagnostic and Statistical Manual (1994). According to this text, the ‘essential feature’ of ‘Delusional Disorder’, or paranoia, is the presence of one or more ‘non-bizarre’ delusions which persist for at least a month. These delusions are ‘non-bizarre’ in that they are comprehensible, and arise from circumstances which could conceivably occur in real life (being stalked, or betrayed, or conspired against, or loved at
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