Fictional Universe Research Articles

Object-oriented paradigm as a method for formalizing character properties in fictional universes (on the example of the character representation of Nekhlyudov in Leo Tolstoy’s novel Resurrection)

The article explores the possibility of applying the object-oriented paradigm (a term sourced from computer science) to formalize various implementations of characters in fictional universes. Examples are provided based on the implementations of the character of Nekhlyudov from Tolstoy’s novel Resurrection. Possible applications of the discussed approach are examined for analyzing the relationships between different implementations of the same character, as well as for generating new characters based on the individual preferences of the reader (or viewer, user).

Behind the Scenes: How Logistics Shape Space Fantasy Science Fiction Narratives

This research note explores how logistics, though often overlooked, is a central element in space fantasy science fiction narratives. In Frank Herbert’s Dune, the spice—essential for interstellar travel—demonstrates how logistics influences space geopolitics. Star Wars highlights the logistical challenges involved in managing an intergalactic empire, from constructing the Death Stars to coordinating rebel fleets. In Star Trek, space exploration depends on intricate logistics to sustain ships, space stations, and diplomatic relations. Finally, Isaac Asimov’s Foundation illustrates how the collapse of logistics can lead to the downfall of an intergalactic empire. These films and novels reveal that logistics extends beyond mere materials and operations management; it becomes a key question of survival, power, and stability within these fictional universes. Science fiction narratives not only offer insights into future logistics but also prompts reflection on contemporary challenges in supply chain and infrastructure management.

Food, Migration, and Place Consciousness in Chika Unigwe’s Better Never than Late

ABSTRACT In this study, we examine the multidimensional facets of food, migration, and individuals’ sense of otherness and dis/connection to place as represented in selected fictional works from Nigeria. The article pays attention in particular to Chika Unigwe’s short story collection, Better Never than Late (2019), which explores the experiences of a group of Nigerian migrants and Europeans living in Belgium through connected stories. Drawing on the theoretical insights of postcolonialism, negofeminism, and affect theory, we explore the connectedness of African migrant personae and their sensitiveness to food and place in the fictive universe of this short story collection. We disentangle the manner in which food and the occasions of meals creatively catalyze different forms of migrant and diasporic consciousness and embodied experiences, including gender consciousness, personhood, and sociocultural angst. The article traces the representation of food in different but connected narratives of estrangement within the African diaspora. The representation of food in fictional works allows for reflection on the psychosocial and existential realities of Africans in a fluid late modern world.

Tearing through the screen: diegetic credits, dialogic media, and fictional reality in Kon Satoshi’s Paprika

This article offers an examination of Japanese anime director Kon Satoshi’s artistic style, with a particular focus on his presentation of the title credits, by tracing his career as an internationally acclaimed auteur. It argues that Kon’s last film Paprika (2006) can be read as a bold experiment that collapses the distinction between physical existence and media representation, which is manifested at two levels: visually, by the translucent projections of the credits and narratively, by the recurring trope of the butterfly dream. It demonstrates that Kon develops a unique aesthetic over his career that blurs the boundary not only between reality and fiction within the diegetic space, but more significantly between the diegesis (i.e., the fictional universe depicted in the animated films) and the tangible, everyday reality that we dwell in. From the perspective of media ecology, this article proposes to consider the diegetic space, which tends to be treated as a commodity that we unproblematically consume, as something that is thoroughly imbricated in and dialogized with our concrete existence in the physical reality.

Possible Worlds, Possible Selves in the Works of Michel Houellebecq

ABSTRACT There exists a sharp divide amongst literary scholars about whether or not Michel Houellebecq’s works reflect aspects of the living author’s opinions and biography. In a new analysis of Houellebecq’s creative practice, this article seeks to avoid the pitfalls to which either side of the debate is prone by considering his works as expressions of ‘the possible’ and, in particular, as explorations of the ‘possibilities’ within his own life. Houellebecq has himself explained the creative process through which his protagonists come into being in terms of the counterfactual and the possible—‘j’ai pris un évènement réel de ma vie et je me suis demandé qu’est-ce qui se serait passé dans ma vie si j’avais pris la décision opposée’—having previously affirmed that they represent ‘Ce qu’on pourrait être et qu’on n’est pas’. This article therefore proposes that his fictional universe can be read as an exploration of Possible Worlds, that is to say, non-actualized worlds that may have eventuated if circumstances in reality had taken a different turn. By extension, his protagonists, including his self-portrayals (in his novels, films and other mediatic projects) are frequently potentialities of the author, his story worlds depicting what he ‘might have become’.

SYMBOLISM AND SMIRNENSKI

The article examines the influence of symbolist aesthetics on the poetry of Hristo Smirnenski. The author combines the high stylistics of symbolism with the social theme – this is how the exquisite expression decorates the stories of social outsiders (urban tyrants, soldiers, prostitutes, street musicians). The poet calls them “children of the city” and portrays them in contrast with another type of social character – Homo Faber, the people of production (workers, blacksmiths, stonemasons, charcoal burners). These are the two types of city characters. The first one is called a swashbuckling hero and represents the victim – poor, sick, blind, and hungry, while the second one is the person of struggle – the person of rebellion who is ready to transform the “old world”. One of the greatest strengths of Smirnenski’s poetry is its expression of pathos, which is not only loaded with social density, but also adorned with striking and complex epithets. The fictional universe of this young author is replete with recurring elements of symbolism – nocturnal or mostly evening landscapes, strange topoi, glamorous shop windows, mournful music, fiery looks, etc. Additionally, the works are characterized by the typical of Smirnenski brilliant poetic parody. He parodies everything – politics and politicians, love, human vices, etc. The article also draws attention to the reciting energy of Smirnenski’s poems, which is not generated by the literary qualities of the text, but by the emotion and expectation of the listener – in this case the category of the reader is missing.

Teaching science through inquiry from the perspective of the Marvel cinematic universe

This work proposed to understand investigative problems that are based on the interests and cultural repertoire of students. As music, series and films are cultural media of interest to children and teenagers in contemporary times, the possibility of incorporating them into the classroom was studied. In this way, seeking engagement and motivation in the teaching of science and mathematics, great enthusiasm was observed for the productions of the Marvel Cinematic Universe (MCU), as teenagers identify with characters that reflect their own characteristics. To this end, a case study was carried out with three high school students, using the fictional universe of WandaVision. The data indicate that by allowing students to share their interests with the teacher, in order to expand scientific knowledge based on these interests, it is possible to enrich the socio-scientific repertoire and connect content with values and ideals represented by students' favorite heroes and villains, which can promote a favorable predisposition to develop meaningful learning within the Investigative Teaching approach.

Transmedia storytelling in materials selection design: an interdisciplinary experience with undergraduate engineering students

ABSTRACT This article aims to present our experience with transmedia storytelling in the design of materials selection, integrating two disciplines within an undergraduate mechanical engineering curriculum in Brazil. The students’ project involved developing a narrative within the fictional universe of superheroes while exploring material properties using Ashby’s methodology. The study aimed at answering two key questions: (1) Can transmedia storytelling contribute to student learning and skills development? and (2) What are the difficulties when using this methodology? Three evaluation approaches were used: test scores, students’ perceptions, and our observations of students’ skills development during this project. It was observed that participating students demonstrated significant test score improvements, indicating enhanced learning, with reported challenges in effort and skill development, particularly in story creation and teamwork. Ultimately, this project allowed students to achieve several cognitive learning objectives, fostering the development of crucial skills like communication and problem-solving. The use of transmedia storytelling in undergraduate engineering courses has the potential to facilitate the cultivation of essential competencies for future engineers across a varied range of cognitive levels, albeit requiring considerable time for planning strategies and creating content.

Young Adult Dystopias as Fictional Universes

Young Adult Dystopias as Fictional Universes

“Shoggoth with Smiley Face”: Knowing-how and letting-know by analogy in artificial intelligence research

This paper examines the fame of the Shoggoth with Smiley Face meme within the growing communities of AI research professionals and enthusiasts. Published on X at the end of December 2022, soon after the release of the ChatGPT model by OpenAI, the original version of the meme contributes to the popularization of the analogy between AI systems based on deep neural networks and the monstrous creatures called “shoggoths” of Howard P. Lovecraft’s horror fictional universe. The description of the evolution leads us to highlight two modes of analogical association between AI and shoggoths: letting-know by analogy and knowing-how by analogy.

Historical figures in “Fate/Grand Order”: adapting Anastasia Romanova

Historical events and figures tend to escape people’s memory as time goes by. In some cases, they are replaced by popular culture adaptations, e.g., video games, fiction, films, etc. Such adaptations may be beneficial to historical memory, preserving their historical models for posterity. Sometimes, adaptation become part of fictional history. “Fate/Grand Order” is a game released by Type-Moon in 2015 (Japan). Its fictional universe makes an active use of various characters of folklore and history, e.g., Joan of Arc, King Arthur, etc. The aim of the study is to examine the adaptation of Anastasia Romanova in the game “Fate/Grand Order”. The adaptation analysis scheme proposed by Linda Hutcheon, as well as the comparative method to cross-reference dialogs, illustrations, skills, craft essence in the game with photographs and biography of the real Anastasia Romanova were used. It is proved that Anastasia the Duchess of the Permafrost Empire from “Fate/Grand Order” is indeed an adaptation of the real Anastasia Romanova, the fourth daughter of the last Russian Emperor Nicolas II, although somewhat modified to match the traditional imagery of the Japanese popular culture.

Identity In Flux: A Critical Study Of Bharti Mukherjee

Bharti Mukherjee is a prominent expatriate woman writer in the post-colonial era, whose literary works vividly capture the ethos and sentiments of American society through the lens of immigrants. Her novels provide a poignant portrayal of the nomadic aspirations of Indians who, driven by the pursuit of a more prosperous life, make the journey to the West. In doing so, they grapple with the challenges of adaptation that ultimately culminate in assimilation. What sets Mukherjee apart from her contemporaries is her optimistic perspective on the immigrant experience. She envisions a path toward modernity and cosmopolitanism, advocating for mutual assimilation and acculturation not just for herself but also for the characters in her fictional universe. Mukherjee's body of work charts a progressive journey, starting with the theme of expatriation and gradually transitioning towards immigration, resulting in a nuanced portrayal of acculturation. This paper aims to trace the evolution of Mukherjee's identity as a writer, as depicted in her novels "The Tiger's Daughter", "Wife", and "Jasmine". These literary works chronicle the profound journey of her characters, from initial feelings of alienation to the challenging process of adjustment, ultimately leading to successful adaptation within their new and unfamiliar surroundings.

Accelerating the integration of the metaverse into urban transportation using fuzzy trigonometric based decision making

Metaverse is defined as a fictional universe that could serve as a simulation environment of reality. Beginning in the past with games, it becomes increasingly integrated into human life as time passes. Metaverse usage is inevitable in every aspect of life. One of its potential application areas could be urban transportation. A novel fuzzy trigonometric based on the combination of the Full Consistency Method (FUCOM) and Combined Compromise Solution (CoCoSo) is proposed to rank three alternatives with twelve criteria under four major aspects: managerial, safety, user, and urban mobility. In the first stage, fuzzy FUCOM methods are used to calculate the weights of the criteria. In the second stage, the fuzzy trigonometric based CoCoSo method is applied to evaluate and rank the alternatives. The proposed model enables the nonlinear processing of complex and uncertain information using fuzzy trigonometric functions. The findings demonstrate focusing on a particular age group can make it easier to integrate the metaverse with urban transportation. The findings of this study have the potential to serve as a guide for decision-makers. The metaverse-based applications could be started by policymakers, which is a promising opportunity with potential boundaries beyond human comprehension making this statement weaker.

Truth in Fiction is Truth Infection: A Study of Emma Donoghue’s Room

Inspired by the 2008 Austrian case of Fritzl, who locked his daughter in a basement for twenty-four years, raped her repeatedly and fathered her seven children, three of whom he imprisoned with her, Emma Donoghue’s Room (2010) is not a mere retelling of the actual story of kidnap and escape. Donoghue’s fictional universe is comprised of several possible fictional worlds: a metafictional world that implicitly directs the model reader’s attention to the process of fictive composition, a “superfictional” world that takes the shape of moments of enlightenment, a “subfictional” world that houses the author’s beliefs and memories that are not in focal awareness, and a “nonfictional” world that houses the author’s repressed thoughts that are hidden. The present study aims at unraveling these possible fictional worlds in a novel the naïve reader receives as a five-year-old boy’s account of his confinement and subsequent escape to the outside world.

Fully Automated Luxury Gay Space Communism: The Case of Iain M. Banks’ Culture

The Culture series created by Scottish author Iain (M.) Banks consists of nine novels, one novella and a couple of short stories situated in the same fictional universe. The eponymous Culture is a space-faring (and spacedwelling) civilization, a conglomeration of several humanoid species and sentient machines, most intellectually powerful beings called The Minds. Technological advances made the Culture a post-scarcity society focused on the maximization of personal freedom. The character of its socio-political structure, however, is somewhat unclear. Based on the differences between its internal and external politics, scholars have mostly placed the Culture within the categories of Utopia and Empire. This is, as the present paper argues, a false dilemma since the Culture is simultaneously both and neither of those. The main argument is that the truly adequate label for the political complexities of the Culture civilization was coined only after the untimely death of the author himself – around 2015, when the far (or, some would say, radical) left activists on the Internet coined the phrase Fully Automated Luxury Gay Space Communism. Using both writings of Marx and Engels on the features of communism and Ollman’s systematization of these features, I will try to show that this is indeed the case.

MASKE VE INSTAGRAM FILTERLERININ İLİŞKİSİ BAĞLAMINDA COMMEDIA DELL’ARTE

The phonomenon of gamification and character-building is constantly evolving and transforming. With
 the advancement of technology, narrative structures and means, individuals have expanded their ability to
 construct fictional universes. New stages have been created in cyberspace through the use of multimedia tools
 that were once used in theatre, cinema, and other areas of visual narration mediums. Social media platforms
 now provide individuals with the opportunity to create their own stages and express themselves in reshaped
 and narcissistic, ironic and critical ways. Through various filters and masks, users can rebuild themselves
 in digital public environments. This research draws a comparison between Commedia Dell’Arte masks and
 Instagram filters to analyze the theatrical effects of digital space as a stage for individuals in everyday life from
 a conceptual perspective.
 Within the scope of the research, two hypotheses will be tested. Firstly, the technical opportunities offered by
 new media platforms have significant impact on the individual’s ability to create their own stage. Secondly,
 the characteristics of comedy in the historical Commedia DellArte culture still exists in today’s digital world.

Other Worlds: A Genealogy from Lu Yao’s Capitalist Realism to Maoni’s Internet Literature

This article elaborates on a genealogy linking the internet literature writer Maoni’s work to the Reform-era writer Lu Yao’s realist epic Ordinary World ( Pingfan de shijie). Most of the works on the popular Qidian platform on which Maoni publishes are shaped by fan-culture-derived (“fannish”) technologies aimed at maximizing reader engagement, which results in a textual community that blurs the lines between writer and reader. The aesthetic that emerges from this community, as illustrated by Maoni’s novel Joy of Life ( Qing yu nian), is one that emphasizes characters over narrative, stresses the delineation of an expansive fictional universe (“world-building”), and frequently cites tropes and intertexts familiar to the novel’s readers. Maoni’s textual community borrows not only from Western fantasy, Japanese ACGN (Anime, Comics, Games, Novels) culture, and pre-modern Chinese literature but also from Lu Yao and the socialist literature that shaped Lu Yao — an influence on Maoni’s internet fiction that remains understudied. Following Maoni’s lead, this article revisits Ordinary World and the institutions that produced it to identify the elements that could be reinscribed as fannish. This genealogy illustrates how configurations of writer, reader, and text with roots in the socialist and early Reform eras are reappropriated by internet literature for radically different ends. It suggests that scholars of internet literature, rather than placing undue stress on a technology-powered rupture with the past, should consider the points of congruence between socialist and postsocialist media ecologies.

Configurations of Islam in Contemporary Art in Norway

Abstract In this article, I explore how Islam is configured in two creative universes that have recently affected the cultural and political scene in Norway. I compare the enactment in Oslo (2019) of Disgraced by the American playwright Ayad Akhtar to parts of the artistic project Heisann Montebello (2015–2017) by the Norwegian rap duo Karpe. In both fictional universes, references to Islam, Muslims, xenophobia, racism, terror, and politics of integration are paramount. It is therefore significant that major cultural institutions in Norway such as The National Theater, the music hall Oslo Spektrum, the National Library, and the Norwegian Broadcasting Network (NRK) stage these works. Overall, my main argument is that both productions speak to wider audiences in a multireligious and multiethnic setting, demonstrating that Muslims and different configurations of Islam have become an integrated part of Norwegian cultural life.

Possible Futures

Possible Futures

Deconfining Translation in Samuel Beckett's Le Dépeupleur and The Lost Ones

Abstract: Le Dépeupleur (1970), Samuel Beckett's short work of prose translated by the author himself as The Lost Ones (1972), crafts a scenario in which 200 bodies are confined to a squat cylinder with scant more than a square meter each and only the rumor of an exit. The confinement Beckett imposes on these dehumanized bodies goes beyond the spatial, and also manifests itself on temporal, linguistic, and narrative planes. Beckett's two versions of the text (English and French) engage each other in ways that both reinforce the confined nature of this fictional universe as well as generate possibilities for liberation.