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Artículos de revistas sobre el tema "Stalkers (fiction)"

Autor: Grafiati

Publicado: 26 de julio de 2024

Última modificación: 31 de julio de 2025

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1

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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2

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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3

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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4

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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5

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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7

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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8

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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9

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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10

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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11

Pereira, Ana Carolina. "Monsters." After Dinner Conversation 2, no. 1 (2021): 70–82. http://dx.doi.org/10.5840/adc2021217.

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What does it mean to be a monster? How do you teach people to become accustomed to seeing things they don’t initially like or understand? Whose obligation is it to break through stereotypes and create a deeper understanding, the person who is afraid, or the object of their fear? In this work of philosophical short fiction, a mother takes her child out to the park even though there are ongoing rumors of “monsters” that roam their suburban neighborhood. Those fears seem to be true, and seem to imply this is a unique world, as the driver of an ice-cream truck suffers from severe, and grotesque, p

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12

Dragunoiu, Dana. "Hazel Shade's Russian Sisterhood, or Is Pale Fire a Feminist Novel? In memory of Gennady Barabtarlo." Nabokov Studies 18, no. 1 (2022): 7–28. http://dx.doi.org/10.1353/nab.2022.a901977.

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Abstract: The essay traces Nabokov's representation of women from the Russian-language works in which he shows a sustained interest in women's lives to the English-language works whose plots often double as whodunnits, driven as they are by questions such as "who is she?" and "what has she done?" I argue that The Real Life of Sebastian Knight, "The Vane Sisters," Lolita, Pale Fire, and Ada dramatize what feminist commentators have identified as properties of patriarchal literary representation: the primacy of women coupled by their absence (De Lauretis), under-description (Heldt), and action d

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13

Dunn, James A. "Charlotte Dacre and the Feminization of Violence." Nineteenth-Century Literature 53, no. 3 (1998): 307–27. http://dx.doi.org/10.2307/2903042.

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Charlotte Dacre's relatively neglected fictions create a unique space in the dialectic of violence that characterizes so much of British Romanticism. Her simultaneous attraction to and repulsion from violence is reflective of an era that apotheosized the sublime, which formed its imagination on the bloody Revolution in France and the increasingly visible brutalities of industrialism, and that made the Gothic its most popular literary commodity. But Dacre's peculiar contribution to this hermeneutic is to build through her four major novels a mythology by which violence emerges, most of all, fro

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14

Pexa, Christopher. "Sovereign Flows and the Obligation of Repayment." American Literary History 35, no. 1 (2023): 246–58. http://dx.doi.org/10.1093/alh/ajac244.

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Abstract Stephen Graham Jones’s 2020 novel, The Only Good Indians, depicts the haunting and killing of four Blackfeet friends—Ricky, Lewis, Cassidy, and Gabriel—by the spirit of an elk cow called “Elk Head Woman,” who stalks the men after they have killed her and her unborn calf. Their punishment, and the unpayability of their debt to the ghost, entail asking what lies beyond a regime of rights when those rights have been judged to be always already ignorable by settler-colonial society. But Elk Head Woman’s haunting also positions violence against the land (via fracking) and its more-than-hum

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15

Cobb, Matthew. "As Gods: A Moral History of the Genetic Age." Perspectives on Science and Christian Faith 76, no. 3 (2024): 225–26. https://doi.org/10.56315/pscf12-24cobb.

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AS GODS: A Moral History of the Genetic Age by Matthew Cobb. New York: Basic Books, 2022. 442 pages. Hardcover; $35.00. ISBN: 9781541602854. *It can sometimes be difficult to tell where science fiction ends and science begins when discussing developments in genetic engineering. Consider genetic manipulation of human embryos leading to heritable genetic changes in children, gene-drive-based disruption of whole ecosystems, and the creation of positive mutations in dangerous human pathogens. These are all experiments that have already been conducted. The children are born. The gene drives have be

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16

McLenachan, Thomas. "Truth is Stranger than Science Fiction: The Quest for Knowledge in Andrei Tarkovskii’s Solaris and Stalker." SLOVO, 2014. http://dx.doi.org/10.14324/111.0954-6839.023.

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17

Lee, James Conneely, Mauleon Ramil, Mieog Jos, J. Barkla Bronwyn, and Kretzschmar Tobias. "Characterization of the Cannabis sativa glandular trichome proteome." April 1, 2021. https://doi.org/10.1371/journal.pone.0242633.

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Cannabis sativa has been cultivated since antiquity as a source of fibre, food and medicine. The recent resurgence of C. sativa as a cash crop is mainly driven by the medicinal and ther- apeutic properties of its resin, which contains compounds that interact with the human endo- cannabinoid system. Compared to other medicinal crops of similar value, however, little is known about the biology of C. sativa. Glandular trichomes are small hair-like projections made up of stalk and head tissue and are responsible for the production of the resin in C. sativa.

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18

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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19

Kustritz, Anne. "Transmedia Serial Narration: Crossroads of Media, Story, and Time." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1388.

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The concept of transmedia storyworlds unfolding across complex serial narrative structures has become increasingly important to the study of modern media industries and audience communities. Yet, the precise connections between transmedia networks, serial structures, and narrative processes often remain underdeveloped. The dispersion of potential story elements across a diverse collection of media platforms and technologies prompts questions concerning the function of seriality in the absence of fixed instalments, the meaning of narrative when plot is largely a personal construction of each au

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20

Whelan, Andrew, and Katharina Freund. "Remix: Practice, Context, Culture." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.694.

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The word ‘remix’ marks venerable and longstanding creative practices and embeds them in a particular aesthetic, social and technological conjuncture. This is both the strength and the weakness of the term: in foreshortening the histories of that which it now names, it highlights the relationship between the participatory affordances of contemporary media technologies and the sense of contemporary media flows as recombinant; as involving the distributed reassembly, reconfiguration and circulation of pre-existing cultural and material elements. Remix situates this work as both artefact and pract

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21

Seale, Kirsten, and Emily Potter. "Wandering and Placemaking in London: Iain Sinclair’s Literary Methodology." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1554.

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Iain Sinclair is a writer who is synonymous with a city. Sinclair’s sustained literary engagement with London from the mid 1960s has produced a singular account of place in that city (Bond; Baker; Seale “Iain Sinclair”). Sinclair is a leading figure in a resurgent and rebranded psychogeographic literature of the 1990s (Coverley) where on-foot wandering through the city brings forth narrative. Sinclair’s wandering, materialised as walking, is central to the claim of intimacy with the city that underpins his authority as a London writer. Furthermore, embodied encounters with the urban landscape

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22

Lord, Catherine M. "Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-Serial." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1370.

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Introduction: Serial Space“It feels …like the edge of the world; far more remote than it actually is, perhaps because it looks at such immensity” (Godden “Black,” 38). This is the priest’s warning to Sister Clodagh in Rumer Godden’s 1939 novel Black Narcissus. The young, inexperienced Clodagh leads a group of British nuns through the Indian Himalayas and onto a remote mountain top above Mopu. Michael Powell and Emeric Pressburger adapted Godden’s novel into the celebrated feature film, Black Narcissus (1947). Following the novel, the film narrates the nuns’ mission to establish a convent, scho

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23

Chin, Bertha. "Locating Anti-Fandom in Extratextual Mash-Ups." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.684.

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Fan cultural production, be it in the form of fan fiction, art or videos are often celebrated in fan studies as evidence of fan creativity, fans’ skills in adopting technology and their expert knowledge of the texts. As Jenkins argues, “the pleasure of the form centers on the fascination in watching familiar images wrenched free from their previous contexts and assigned alternative meanings” (227). However, can fan mash-up videos can also offer an alternative view, not of one’s fandom, but of anti-fandom? Fan pleasure is often seen as declaring love for a text through juxtaposing images to sou

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24

Comerford, Chris, and Tracey Woolrych. "Becoming the Shadows." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3142.

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Introduction The dark silhouette of Batman (Robert Pattinson) emerges from the shadows on a rainy night, confronting a gang at a train station. One of their members asks, “what the hell are you supposed to be?”, before moving to attack. Batman quickly disarms the gang member, but in contrast to many of the character’s incarnations – on the screen and the comic book page – who would knock the criminal out before moving on, this Batman pummels the gang member even after he’s been knocked to the ground. With a throaty growl Batman responds, “I’m vengeance”, then proceeds to violently assault the

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25

Seale, Kirsten. "Doubling." M/C Journal 8, no. 3 (2005). http://dx.doi.org/10.5204/mcj.2372.

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   ‘Artists are replicants who have found the secret of their obsolescence.’ (Brian Massumi)   The critical reception to British writer Iain Sinclair’s most recent novel Dining on Stones (or, the Middle Ground) frequently focused on the British writer’s predilection for intertextual quotation and allusion, and more specifically, on his proclivity for integrating material from his own backlist. A survey of Dining on Stones reveals the following textual duplication: an entire short story, “View from My Window”, which was published in 2003; excerpts from a 2002

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26

Peaty, Gwyneth. "Power in Silence: Captions, Deafness, and the Final Girl." M/C Journal 20, no. 3 (2017). http://dx.doi.org/10.5204/mcj.1268.

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IntroductionThe horror film Hush (2016) has attracted attention since its release due to the uniqueness of its central character—a deaf–mute author who lives in a world of silence. Maddie Young (Kate Siegel) moves into a remote cabin in the woods to recover from a breakup and finish her new novel. Aside from a cat, she is alone in the house, only engaging with loved ones via online messaging or video chats during which she uses American Sign Language (ASL). Maddie cannot hear nor speak, so writing is her primary mode of creative expression, and a key source of information for the audience. Thi

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