Fictional Universe Research Articles

La variación fraseológica intencional en traducción de la ciencia ficción como recurso estilístico

"Phraseology is considered nowadays a well-established and promising field of study. However, phraseological variation is a real phenomenon that, in certain contexts, is a deliberate decision. Therefore, we suggest with this article an approach to phraseological variation as a stylistic device for the translation of fantasy and science fiction literature. To do so, we analyze the cases of phraseological variation drawn from the novel La Plaie, written by the French author Nathalie Henneberg, as a resource that encourages the contextualization of the readers within a fictional universe thanks to the rhetorical, semantic and cultural features of the original phraseological units. Results showed a wide range of phraseological variation with lexical terms related to the story."

From Play to Political Action: Prosumerism on Fanvideo Meme Production

Fans are singular productive consumers. One of their typical practices is the production of fanvideos. An increasingly common trend in fanvideos is the creation of memes, a phenomenon of the modern internet related to ironic humor. This study aimed to analyze how fans, based on media texts, related to successful popular culture franchises. For this purpose, we performed an interpretive content analysis of fanvideos based on popular culture franchises posted on YouTube. Results demonstrate that meme fanvideos are made for play with and through the franchises, play dirty tricks, and criticize the politics. It happens by a variety of types of performances and techniques that dialogue both with the fictional universes and with different spheres of social life, often revealing an attitude of social criticism. Nevertheless, this interface makes room for a reproduction of prejudiced practices that target stigmatized identities. This process illustrates the intensive use of information and communication technologies and the ubiquity of the media, as well as the political tensions increasingly present in ordinary social life. These outcomes show how productive consumer behavior collapses with other social spheres when the meaning of products and brands is appropriated and re-signified through skilled creative consumer practices.

Los adverbios en –mente en las proposiciones proyectoras en la obra de Benito Pérez Galdós: un enfoque de corpus

In this article, we analyse Benito Pérez Galdós’s use of adverbs ending in -mente in his fictional narratives. The study focuses on those examples identified in projecting clauses that introduce stretches of direct speech. In order to search for the examples under analysis, a corpus-stylistic approach was used. First, we carried out a comparison of the examples identified in a corpus of Galdós’s novels against the backdrop of a reference corpus made up of nineteenth-century Spanish fictional narratives. Then, we analysed the examples identified across Galdós’s novels, focusing on three self-contained functional patterns: characters’ voices, their psychological dimension and their body language. As will be shown, Galdós’s extensive use of adverbs ending in -mente results in stylistically significant functions, such as characterisation and the construction of fictional universes. https://doi.org/10.17398/2660-7301.43.243

Religious Cults in the Fictional Universe of the RPG The Witcher

Religious Cults in the Fictional Universe of the RPG The Witcher

Jeux onymiques et constructions onomaturgiques dans L’Enfant léopard (1999) de Daniel Picouly

<p>Celem badań jest sprawdzenie, w jaki sposób onomastyczne narzędzia wykryte we francuskiej powieści <em>L’enfant leopard</em> [<em>The Leopard Boy</em>](1999) Daniela Picouly’ego determinują potencjalnie pluralistyczny odbiór tekstu odwołującego się do własnej kompetencji historycznej, fikcyjnej i retorycznej. Poświęcona przede wszystkim literackiej onomastyce analiza skupia się na identyfikacji różnych kontekstów ponownie użytych przez autora powieści, z których czerpie nazwiska postaci i miejsca swojego fikcyjnego uniwersum. Nazwy własne można rozumieć jako odniesienia historyczne, które pełnią funkcję uautentyczniającą opowieść – służą jako referencyjne zakotwiczenie narracji – i zawierają odniesienia intertekstualne, które może uchwycić jedynie czytelnik o głębokiej świadomości literackiej. Nazwy własne można także rozumieć jako wyimaginowane konstrukcje onomaturgiczne opracowane przez autora, który wykorzystuje strategie językowe i retoryczne, aby osiągnąć ludyczny charakter tekstu. Studium ujawnia proces budowania opowieści oraz tropiąc ślady onomastyczne, oddaje przyjętą przez autora metodę kreacji literackiej.</p>

Monólogos y Polifonía en Tiempo de silencio de Luis Martin Santos

Monologues and Polyphony in "Tiempo de silencio" by Luis Martín-Santos
 ABSTRACT: Our article, titled "The Polyphony in the Monologues of Tiempo de silencio by Luis Martín-Santos," aims to provide a descriptive analysis of the phenomenon of polyphony in monologues, as well as to explore how this polyphony contributes to the literary richness of the novel. The presence of monologues in Tiempo de silencio is distinctive, not only because they serve as a narrative device but also because they offer insights into the characters' inner thoughts, intimate reflections, and the convergence of multiple voices that create intricate architectures within the text. Therefore, we argue that Tiempo de silencio is a polyphonic work. Through the analysis of polyphonic monologues, we seek to observe and support the following hypothesis: the monologues crafted by Martín-Santos are vital elements that contribute to the construction of the novel's fictional universe. These monologues allow for a profound characterization of the novel's characters, as they reveal their inner conflicts, contradictions, frustrations, and moral turpitude. By delving into the polyphony of monologues, we aim to provide a comprehensive understanding of the intricate psychological and emotional landscapes of the characters in Tiempo de silencio.
 RESUMEN: Nuestro artículo, titulado "La polifonía en los monólogos de Tiempo de silencio de Luis Martín-Santos", tiene como objetivo proporcionar un análisis descriptivo del fenómeno de la polifonía en los monólogos, así como explorar cómo esta polifonía contribuye a la riqueza literaria de la novela. La presencia de monólogos en Tiempo de silencio es distintiva, no solo porque sirven como dispositivo narrativo, sino también porque ofrecen una visión de los pensamientos internos, reflexiones íntimas y la convergencia de múltiples voces que crean arquitecturas intrincadas dentro del texto. Por lo tanto, sostenemos que Tiempo de silencio es una obra polifónica. A través del análisis de los monólogos polifónicos, buscamos observar y respaldar la siguiente hipótesis: los monólogos elaborados por Martín-Santos son elementos vitales que contribuyen a la construcción del universo ficticio de la novela. Estos monólogos permiten una caracterización profunda de los personajes de la novela, ya que revelan sus conflictos internos, contradicciones, frustraciones y depravaciones morales. Al adentrarnos en la polifonía de los monólogos, nuestro objetivo es proporcionar una comprensión integral de los intrincados paisajes psicológicos y emocionales de los personajes en Tiempo de silencio.

Negritud, oralidad y carnaval en la narrativa afrodescendiente peruana del siglo XX (Gálvez Ronceros, Martínez y Charún-Illescas): hacia la conformación de un corpus autónomo

La presente investigación aborda la obra de los tres principales referentes de la literatura afrodescendiente producida en el siglo XX en el Perú: Antonio Gálvez Ronceros (Monólogo desde las tinieblas), GregorioMartínez (Canto de sirena) y Lucía Charún-Illescas (Malambo). Se propone analizar la obra en conjunto de estos tres autores con el objetivo de establecer los rasgos comunes que comparten. Se realiza un análisis comparativo de las estrategias discursivas y lingüísticas empleadas en estas obras que, en conjunto, comparten el objetivo común de problematizar las representaciones tradicionales del sujeto afroperuano por medio de una toma de conciencia lingüística de la naturaleza del objeto literario. Asimismo, se considera la importancia que tiene la tradición de la cultura cómico popular en las formas de la literatura carnavalizada descrita por Bajtín, en los universos fccionales de las obras de estos autores, y no solo en la obra de Gregorio Martínez, comotradicionalmente se ha afrmado.

Historical Verisimilitudes in Fictional Universe: Cultural Poetics in the Works of Allende

This study analyzed Isabel Allendes novel The House of the Spirits by probing the correlation between fiction and history. The theory of New Historicism was used to examine the textuality of history and the historicity of the text. The study argues that Allendes novel can be read as a subversive text that problematizes the boundary between fiction and history. The novel was analyzed by creating a parallel between the fictional work i.e. The House of the Spirits and the history book i.e. The History of Chile to question the neutrality and objectivity of history. The appraisal incorporated the biographical, political, historical and cultural contexts to evaluate the characters, themes and events of the novel. The study analyzed Allendes novel in the backdrop of the texts historical, social and political circumstances. The findings of the study show that Allendes novel is a product of its time, locale, context and the novelists biography

FREE INDIRECT DISCOURSE AND POSSIBLE WORLDS IN IAN MCEWAN’S THE CHILD IN TIME

The paper discusses the nature of free indirect discourse and the manner in which it appears within postmodern fiction, more precisely in Ian McEwan’s novel The Child in Time, through the modality of possible world semantics. First it explains how free indirect discourse should be understood in this context, outlining the theoretical introduction and justification of this particular approach. The subsequent discussion focuses on speech acts and how they can be understood theoretically and in a fictional universe. It then showcases how free indirect discourse works in Ian McEwan’s The Child in Time, which offers an excellent case study for this type of analysis, given the fact that the novel is a third person narrative, an indirect account of events, and a reported story, and thus a perfect sample of free indirect discourse in fiction. Finally, by blending these perspectives within the narrative universe and observing how they render a structural matrix of fiction upon which worlds of possibility can be modally distinguished, the paper will prove that the analysis of free indirect discourse completes the picture of narrative syntax within possible world determinism.

Velho Chico: uma jornada intelectual rumo a uma poética mestiça

Este artigo pretende analisar a poética audiovisual articulada pelo diretor Luiz Fernando Carvalho na recente telenovela Velho Chico (2016). Compreendendo poética a partir de Bordwell (2008) que a define como um ramo de estudos do cinema voltado a manufatura audiovisual, isto é, a um entendimento sobre o processo de criação, produção e efeito. Entretanto, diferentemente de Bordwell cuja matriz conceitual gira em torno do cognitivismo, adotamos como ponto de partida as teorias sistêmicas de Edgar Morin, Mário Bunge, Ilya Prigogine e Jorge Vieira. Dessa forma, o texto centra-se, em primeiro lugar, no esclarecimento da organização sistêmica que molda a poética do audiovisual no que tange ao seu caráter colaborativo, isto é, vários agentes semióticos contribuindo na manufatura da obra, no caso a telenovela. Em segundo, é observado sua complexidade semântica com seus encontros e sincretismos sígnicos advindos de várias influências culturais e estéticas. Para em seguida, o artigo salientar que Velho Chico é, ao mesmo tempo, um ponto de chegada e um ponto de partida para círculo-evoluções sígnicas, isto é, para outros rincões sígnicos, fluindo, desaguando e se ramificando por outras vertentes, criando uma linguagem sinérgica e mestiça própria àquele universo ficcional. Por fim, o texto conclui que Velho Chico é uma jornada intelectual do diretor Luiz Fernando Carvalho na busca de um novo paradigma, uma poética audiovisual que acolha seus ideais estéticos: uno, múltiplo, complexo.

Gendered Narrative in Female War Literature

Abstract US novelist and journalist Helen Benedict’s 2011 fictional work Sand Queen, the first novel about the Iraq War (2003–11) written by a woman, has great potential for feminist approaches, especially regarding its use of gender-identity models. Through her positioning of the narrators, her multiple narratives, and the linguistic elements in this work, Benedict has created a unique artistic structure that has broad implications for the study of narrative, the themes of war, displacement, and trauma, and cross-cultural understanding. The current study examines Benedict’s work to demonstrate her gender-conscious view of war in her depiction of US soldier Kate Brady and Iraqi medical student and interpreter Naema Jassim as the central consciousnesses through which the narrative is told. Taking advantage of third-wave feminist approaches to gender, the study discovers diverse perspectives and distinctive viewpoints on the concept of gender identity. Offered by the novel’s first-person character-narrators, these viewpoints explore the fictional universe mapped out by Benedict in the text. In the context of the Iraq War, based on models of gender identity interspersed throughout the narrative, the study reveals how the challenges and/or reaffirmations of normative gender ideologies dominated patriarchal systems of military institutions.

The “Be Part and Take Part” Issue in Contemporary Itali

Fabio Deotto is an Italian fiction writer whose last novel, Un attimo prima (2017), explores the life of an ordinary man in a futuristic Milan by using a psychoanalytic sub-plot. In the fictional universe where Deotto sets the story of Edoardo Faschi, the world has changed after a revolution ignited by an Occupy Movement’s cell. In the “new West” risen from the ashes of the 2008 crisis, citizens are assisted by the State for all their needs, from food to medical care, provided that a strict ...

The Feminist Metaphorics of Herland in Charlotte Perkins Gilman's Poetry

قدمت شارلوت بيركنز كيلمان، بوصفها من اوائل المتصدين للكتابة والشأن النسويين في بواكير الحداثة ، نتاجا يشي بغزارة الاستعارة النسوية التي تنهل من البيئة النسوية حينذاك، وكذلك ترتكز على الموروثين الدارويني والماركسي. يتم التطرق ههنا لاستعاراتها النسوية بوصفها متجذرة في النزعة الطوباوية كما تتمثل في عملها السردي (ارض النساء). فعلى الرغم من ان هذا العمل متأصل في الطروحات الاقتصادية والبايلوجية وتمثلها الطوباوي في الفكر والادب فأنه يميل الى كسر الاطر الفكرية والمحددات الاجناسية فيما يخص تمثيل التجربة النسوية في عالم الرجل وآدابه. الا ان شعر كيلمان، من جانب آخر، يستمد دفقه وشروطه من آليات الكتابة النسوية التي اصبحت سمة غالبة للنتاج النسوي وحتى المتأخر منه وذلك من خلال امتلاكه الواعز القوي للتضاد وهاجس التغيير.

Transferring Knowledge to Narrative Worlds: Applying Power Taxonomy to Science Fiction Films

AbstractInstructors of courses in international relations increasingly use films to facilitate students’ learning of abstract concepts and to deepen their understanding of theories. This paper introduces how the fictional universes presented in films can be utilized as platforms for students to learn about the application of analytical frameworks. This method aims to enhance students’ abilities to transfer learned knowledge to a different setting. Knowledge transfer requires skills that go beyond lower-order thinking. Higher-order thinking aids students’ retention of concepts, and enables them to apply what they have learned to new situations. This article illustrates an application of a power taxonomy in the narrative world of the non-historical science fiction films. This exercise can easily be transported to various political science, international relations, and other courses to help students learn various analytical concepts, frameworks, and theories.

A Fi Evreu, A Fi Intelectual, A Fi Român Și Dunărean. Sionism Și Asimilare

Abstract In this paper, I bring into discussion the concepts of Zionism and assimilation, as introduced in Mihail Sebastian’s novel For Two Thousand Years… Some critical points of view regarding these movements will be referred to in order to highlight the novelty of Sebastian’s approach and how he introduced these concepts within his fictional universe.

A Fairy-Tale Noir: Rewriting Fairy Tales into Feminist Narratives of Exposure

This article introduces the fairy-tale noir, a subgenre of fantasy-noir fiction that is particularly present in the work of Italian women writers, including Laura Pugno, Simona Vinci, Nicoletta Vallorani, and Alda Teodorani. This subgenre adopts fairy-tale topoi and characters to elaborate on the theme of vulnerability from feminist and environmental perspectives. Vulnerability is an intrinsic feature of fairy tales (texts that are continually performed and modified, but that remain “non-appropriable”); it is also a pivotal characteristic of the young protagonists of these fictional universes, who are often exposed to abuse. The twenty-first-century fairy-tale noir redeploys the discourse of bodily exposure typical of traditional fairy tales by engaging in an environmentalist reflection on the experience of exposure that human and nonhuman bodies share. The genre also adopts the theme of vulnerability as openness to change and uses the unconventional families of fairy tales to discuss recent social changes in Italian families. Finally, fantasy noir recasts vulnerability to violence as a potential space of empathy, or biophilia, with the broader, nonhuman “family.” Exploring this overlooked genre ultimately shows how Italian women writers, who are still at the margins of the Nuovo Giallo Italiano, have successfully reinvented a male-dominated genre into a literary lens probing socio-environmental concerns, first and foremost gender discriminations.

Масонский дискурс о новой России: О своеобразии образа мира в русских масонских утопиях XVIII века

Идеалистические представления о государстве и человеке, сочетавшиеся с критикой существующего уклада жизни были важным компонентом споров конца XVIII века о новой России. Утопические повести А. П. Сумарокова, М. М. Хераскова, В. А. Левшина, А. Н. Радищева, в которых образ мира обоснован на убеждении о возможности восстановления уничтоженного порочной натурой человека гармоничного порядка мира, переводили на язык литературных образов и приемов, понятен как братьям масонам, так и профанам, ценимые масонами идеи свободы, братства и равенства. Мифический «золотой век» в понимании русских масонов относился как к прошлому, так и будущему. Восстановление гармоничного порядка гарантировалось духовным возрождением личности.

How Speculative Fiction Can Teach about Gender and Power in International Politics: A Pedagogical Overview

AbstractFictional universes can be treated as discrete units of analysis in which we see the operation of international relations theory. This article discusses insights gleaned from a course created at Sonoma State University called “Gender and Geopolitics in Science Fiction and Fantasy,” in which feminist theory and international relations approaches are integrated, and science fiction and fantasy texts serve as the mechanism through which to examine the key themes and questions. This article provides an overview of the pedagogy to highlight the usefulness of speculative fiction in teaching. Each of the fictional universes is treated as a separate system where gender and political dynamics manifest in ways that observers of international relations will recognize. The core texts are Battlestar Galactica, Game of Thrones, Jessica Jones, Star Trek, Misfits, and Watchmen. The major theories and approaches explored here have implications for gender studies and feminist theory, the concepts of metaphor and allegory, and game theory.

It’s Better to Enjoy Learning than Playing: Motivational Effects of an Educational Live Action Role-playing Game

Game-based learning is supposed to motivate learners. However, to what degree does motivation driven by interest in playing an instructional game affect learning outcomes compared to motivation driven by interest in the very learning process? This is not known. In this study with a unique design and intervention, young adults (N = 128; a heterogeneous sample) learned how to control an electro-mechanical device in a 40-minute-long learning session integrated into a 2-hour-long educational live action role-playing game (edu-LARP). Edu-LARPs are supposedly engaging games where players take part in team role-playing by physically enacting characters in a fictional universe. In our edu-LARP, players had to understand how the to-be-learned device worked in order to win the game. Departing from typical game-based learning research, learning- and playing-related variables were assessed for each learner separately (i.e., a within-subject design). Affective-motivational factors related to playing (rather than learning) predicted learning outcomes in a positive, but considerably weaker, way compared to learning-related, affective-motivational factors. Developed interest in LARP-like games was primarily related to enjoying the game rather than better learning outcomes; whereas, developed interest in the instructional domain was primarily related to enjoyment of learning and better learning outcomes. Overall, autonomous motivation to play was connected to higher learning outcomes, but this connection was weak.

El carnaval criollo: apuntes para un análisis discursivo de la colección de los cuentos La mesa de los galanes

ABSTRACTThe work of Roberto Fontanarrosa has the peculiarity of encompassing different fields of aesthetic production (graphic humor, comics, literature, theater and more) without losing its coherence. A close examination of these works reveals the fact that Fontanarrosa resorted to local clichés and the “Argentinization” of foreign subjects (westerns, spy novels, classic works of literature, superhero comics), which in turn accounts for their influence upon his own original fictional universe. In this article we propose to carry out a discursive analysis of the collection of short stories entitled La mesa de los galanes, from the perspective of Bakhtin’s concepts of discursive genre and “carnival literature.”