The conceptual interpretation of S. King`s literary heritage

2021 ◽  
Vol 62 (01) ◽  
pp. 159-161
Author(s):  
Ilaha Adil Majidova ◽  
Keyword(s):  
Science Fiction ◽  
American Literature ◽  
Key Words ◽  
Life Experiences ◽  
American Writer ◽  
Literary Heritage ◽  
Inner World ◽  
Horror Fiction ◽  
Style Of Writing

S.King is a modern American writer of supernatural, horror fiction, science fiction and fantasy. His works are powerful because he integrates his life experiences and observations into idiosyncratic stories. He uses a free style of writing. Generally By the help of supernatural beings, vampire, demon, insubstantial events he mystifies and shocks readers, confuses their minds. The writer’s psycho-emotional situation, inner world rebound his works. This article is devoted to the conceptual interpretation of S.King’s creativity. In his works he tries to show the depth of his imagination. Key words: modern American literature, fantasy, horror fiction, psycho-emotional creativity, mystical elements

Токтогулдун санат-насыят ырларынын тарбиялык мааниси

2019 ◽  
pp. 66-68
Author(s):  
А. Кошбаев
Keyword(s):  
Young People ◽  
Key Words ◽  
Basic Concept ◽  
Life Experiences ◽  
Folk Songs ◽  
General Philosophy ◽  
Educational Value ◽  
Pedagogical Content ◽  
Teaching Content ◽  
The Masses

Аннотация: Бул макалада санат-насыят ырларды жаштарга тарбия таалим берүүдө, адам болуп калыптануусуна өзгөчө орунга ээ. Акындык жанрда ыр түрүндө, комуздун коштоосунда же жөн гана ооз эки айтыш менен айтылган. Санат-насыят, терме мактоо ырлары менен жаштардан баштап улгайганга чейин акыл туюмун өстүрүп келген. Акындар эл аралап санат-насыят ырларын ырдашкан. Эл топтолгон тойлордо, жыйындарда тарбиялык мааниси бар ырларды көпчүлүккө жайылткан. Бул тарбиялык мааниси бар ырларды көпчүлүк өздөрүнүн балдарына тарбия берүүдө колдонушкан жана кулактарына сиңиришкен. Токтогулдун «Өмүр», «Карылык», «Насыят», «Санат», «Үлгү ырлар», «Нускалуу ырлар», «Терме», «Курдаштын көөнүн билип өт» деген философиялык ойлорго бай, педагогикалык маңызы терең ырлары жөнүндө автор баяндайт. Токтогулдун чыгармачылыгындагы эң негизги концепция-адам эң жогорку турган кымбат нерсе, улуу идеал. Акындын өзүнүн адамды асыл зат катары жогору баалашы, ага өтө гумандуулук менен мамиле кылгандыгы улуулугу болуп саналары жөнүндө сңз болот. Түйүндүү сөздөр: багыттоочу, гумандуулук, насыят, педагогикалык маңызы, санат, тарбиялоочу, терме, философиялык ойлор, элдик. Аннотация: Назидательные и нравоучительные народные песни занимают особое место в деле воспитания молодежи и становлении их как личности. Песни исполнялись акынами как в сопровождении комуза, так и без него. В данной статье показано воспитательное значение нравоучительных песен Т. Сатылганова. Т. Сатылганов через свои песни, которые несли воспитательные, созидательные функции, передавал гуманистические идеи, распространял передовые мысли среди народных масс. Автор говорит о том, что песни Токтогула «Өмүр», «Карылык», «Насыят», «Санат», «Үлгү ырлар», «Нускалуу ырлар», «Терме», «Курдаштын көөнүн билип өт» полны философских размышлений, педагогического содержания. Он раскрывает основную концепцию творчества Токтогула о том, что человек наивысшее, самое ценное существо, великий идеал. Так же автор подчеркивает, что слова песен Токтогула отличаются образностью, обладают эмоциональной силой и возвышенностью. Акын меткими и точными словами дает характеристику как человеку, так и явлениям жизни. Каждый слушатель или читатель получает для себя из песен Токтогула жизненный опыт и делает выводы. Ключевые слова: направляющий, гуманизм, назидание, педагогическое содержание, поучение, воспитательный, сборный, философские мысли, народный. Abstract: Edifying and moralizing folk songs occupy a special place in the education of young people and their formation as a person. The songs were performed by akyns both accompanied by komuz and without it. This article shows the educational value of the moralizing songs of T. Satylganov. T. Satylganov through his songs, which carried educational, creative functions, transmitted humanistic ideas, spread advanced thoughts among the masses. The author says that the songs of the Toktogul "Omur", "Karylyk", "Naziat", "Sanat", "Ulgu yrlar", "Nuscaluu, yrlar", "Terme", "Kurdashtyn konun bilip ot" complete philosophical reflection, and pedagogical content. He reveals the basic concept of creativity Toktogul that man is the highest, most valuable creature, the great ideal. The author also emphasizes that the words of the songs of Toktogul differ in imagery, have emotional power and sublimity. Akyn apt and precise words gives a description of both people and phenomena of life. Each listener or reader gets from the songs of Toktogul's life experiences and draws conclusions. Key words: guide, humanism edification, teaching content, teaching educational, general, philosophy, folk.

Biology and Manners

2020 ◽  
Keyword(s):  
Science Fiction ◽  
American Literature ◽  
Disability Studies ◽  
Fan Studies ◽  
Contemporary American Literature ◽  
Contemporary Science ◽  
The Us ◽  
Main Series ◽  
Current Concerns ◽  
The Red Queen

This volume is a new collection of scholarly essays on the US science fiction and fantasy writer Lois McMaster Bujold. The collection argues for the significant contributions Bujold’s works make to feminist and queer thought, disability studies, and fan studies. In addition, it suggests the importance of Bujold to contemporary American literature. The volume continues the establishment of Bujold as an important author of contemporary science fiction and fantasy. It argues that her corpus spans the distance between two full arcs of US feminism and has anticipated or responded to several of its current concerns in ways that invite or even require theoretical exploration. As well as papers on earlier work in the main series (the Vorkosigan Saga and the ‘Worlds of the Five Gods’ novels The Curse of Chalion and Paladin of Souls), the collection also presents work on recent publications such as The Sharing Knife sequence; the ‘Penric and Desdemona’ novellas; and the recent Vorkosigan Saga novel Gentleman Jole and the Red Queen. The collection deepens feminist research in Bujold studies by incorporating queer and disability studies perspectives; and includes historiographic retracing of scholarship on Bujold’s work.

scholarly journals The problem of human tragedy in the genre of science fiction (on the example of R. Bradbury’s works "Tomorrow's Child" and "The Veldt")

2021 ◽  
pp. 78-87
Author(s):  
O. M. Byndas ◽  
Keyword(s):  
Science Fiction ◽  
English Language ◽  
Human Society ◽  
Wide Range ◽  
Fantastic Fiction ◽  
The Future ◽  
Absolute Dependence ◽  
Inner World ◽  
The Difference ◽  
Definition Of

This article deals with the problem of relationships among people in the future, which are based not on respect and understanding of each other's value, but on absolute dependence on technical progress. The purpose of this work is to highlight the problem of humanity’s tragedy in the genre of science fiction, using the example of Ray Bradbury’s works „Tomorrow's Child” and „The Veldt”. Firstly, it is noted that the difference and, accordingly, the problem begins immediately with terminology, because there is no single stable definition of the term „fantasy” (as a generic phenomenon) in English-language science. The options offered by scientists are speculative fiction, fantastic fiction, fantasy literature. The author notes that science fiction (Sci-Fi) describes many different super important problems of the human society: technological progress, information wars, the desire of people to be immortal, powerful, rich, possessing the Universe. In fact, the tragedy of humanity begins from these desires. However, R. Bradbury’s works „Tomorrow's Child” and „The Veldt” have a wide range of topics, affecting aesthetic, intellectual, moral and scientific problems. In addition, the science fiction writer reveals his special interest in the inner world of the child. In the mentioned-above stories, the idea of the coexistence of people and the techno world is traced, which leads to a tragic situation. Covering the problem of humanity’s tragedy in the future, described back in the distant 1950s, R. Bradbury aims to present another idea of the future, he describes, at the same time, possible threats to us, and shows what significant consequences this can lead to.

scholarly journals Da Zona enquanto espaço pregnante

Revista Prumo ◽  
2019 ◽  
Vol 4 (7) ◽  
pp. 124-137
Author(s):  
Lucas Gadelha Parente
Keyword(s):  
Science Fiction ◽  
Key Words ◽  
Present Article ◽  
Social History ◽  
Urban Space ◽  
Soviet Science ◽  
Multiple Networks ◽  
Soviet Science Fiction

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 fiction; urbanism.

ХУЛИО КОРТАСАР – ЖЕМЧУЖИНА ЛАТИНОАМЕРИКАНСКОЙ ЛИТЕРАТУРЫ

2019 ◽  
Vol 50 (01) ◽  
pp. 35-37
Author(s):  
Лятафет Яшаровна Зейналлы ◽  
Keyword(s):  
American Literature ◽  
Key Words ◽  
Latin American ◽  
Latin American Literature

То, что осталось было создано в одиночестве и отвоёвано у тьмы. Ключевые слова: латиноамериканская литература, Кортасарский герой, игра Açar sözlər: Latın Amerikası ədəbiyyatı, Kortasar qəhrəmanı, oyun Key words: Latin American literature, Cortazarian hero, playful maner Развитие латиноамериканской литературы имело свой, субъективный, опыт. Она не могла полностью развиваться ни на основе фольклора индейцев в силу языкового барьера, ни на основе испанской литературы – в силу отличий отраженной в ней действительности и испанского сознания. Однако, латиноамериканская литература формировалась, используя опыт как испанской, так и других европейских литератур, переиначивая этот опыт, вырабатывая собственный стиль и язык. Инверсия, парафраз, интерпретация европейской традиции являют собой основу латиноамериканской литературы. Более того, влияние латиноамериканской культуры на испанскую было отмечено в Кэмбриджской истории испанской литературы: «В то же время влияние латиноамериканского романа, которое возросло в 1960-х, всё ещё было очень сильным. Без этого влияния, прямого или непрямого, нелегко объяснить успех таких работ как, «Сага-полёт Х.Б.», 1972, Гонзало Торредо Бальэстера и «Глаз кошки Агаты», 1974, Хосе Мануэля Кабальэро Боналда» [1, p. 691].

Dizzy à la Mimi: Jazz, Text, and Translation

2017 ◽  
Vol 11 (2) ◽  
pp. 121-154
Author(s):  
BENJAMIN GIVAN
Keyword(s):  
African American ◽  
Science Fiction ◽  
American Literature ◽  
African American Literature ◽  
Musical Instruments ◽  
Collaborative Relationship ◽  
Translation Process ◽  
French Edition ◽  
French Texts

AbstractThis article addresses issues of translation and transnational exchange, taking as a case study the two-pronged collaborative relationship between the French jazz singer, lyricist, and translator Mimi Perrin (1926–2010) and the African American trumpeter Dizzy Gillespie (1917–1993), whose memoir Perrin translated into French and with whom she collaborated on a 1963 jazz album. Perrin, who is the article's principal focus, founded the successful vocalese singing group Les Double Six in 1959 and then, after abandoning her musical career for health reasons in 1966, forged a new career as a literary translator. The article begins by examining her work as a translator of African American literature and demonstrates that her French edition of Gillespie's autobiography lacks some of the original's connotative cultural signification, in particular meanings conveyed through the book's use of black dialect. The article then turns to Perrin's work as a vocalese lyricist, which is notable in that she conceived of her lyricization of jazz improvisations as a sort of translation process, one that involved carefully selecting words in order to mimic the sounds of musical instruments. Her musical innovations are exemplified by a series of original French texts, set to Gillespie's music, on science fiction themes.

Octavia Butler

2019 ◽  
Author(s):  
Rebecca J. Holden
Keyword(s):  
Short Stories ◽  
African American ◽  
Science Fiction ◽  
American Literature ◽  
African American Women ◽  
African American Literature ◽  
Historical Narrative ◽  
American Women ◽  
Her Family ◽  
City College

Octavia E. Butler (b. 1947–d. 2006), one of the first African American science fiction (sf) authors, remains the most prominent African American women science fiction author. She was born to Laurice and Octavia M. Butler in Pasadena, CA. Her father died when she was a toddler and she was raised an only child by her mother and grandmother. Her family called her “Junie” but most of her friends called her Estelle. An avid reader her entire life, Butler wrote her first sf story when she was about twelve years old after she watched sci-fi B-movie “The Devil Girl from Mars” and realized she could write a better story. She earned an associate’s degree from Pasadena City College and took classes at both Cal State and UCLA. At the behest of Harlan Ellison, whom she met at the “Open Door” Workshop, she attended the Clarion Science Fiction Writers Workshop in 1971, after which she sold her first two stories, one of which, “Crossover,” was published in 1971. She published her first novel, Patternmaster, in 1976, and went on to publish a total of twelve novels, seven short stories, and ten Essays. Two additional short stories, both written early in her career, were published posthumously in 2014. Butler also gave numerous Interviews and presentations at sf conventions and conferences. Her writings transformed the science fiction field by showing us futures—usually difficult futures—in which African American women play primary roles and futures in which being black was not exceptional. She brought together multiple genres—slave narrative, fantasy, science fiction, dystopia, historical narrative, and vampire literature—and transformed sf tropes—including alien invasion, first contact, post-apocalypse, cyborgs, genetic manipulations, and others—in her boundary-breaking sf. Butler often commented that her fiction addressed three sometimes overlapping audiences: those interested in feminism, African American literature, and science fiction. Her fiction was nominated for and won the top science fiction awards, including two Hugos, two Nebulas, two Science Fiction Chronicle awards, and a Locus award. Butler was the first sf author to receive a MacArthur “genius” grant (1995) and also won a Lifetime Achievement Award in Writing from the PEN American Center (2000). Butler’s fiction and life has had a significant influence on the sf genre and field. Teaching at Clarion West, participating in panel discussions, and offering advice and mentorship, Butler inspired many from the recent generation of sf writers of color and has been claimed by the Afrofuturism movement. Her untimely death rocked the sf world, depriving society of a necessary critical and intuitive voice.

Ursula K. Le Guin

2020 ◽  
Author(s):  
Sandra J. Lindow
Keyword(s):  
Science Fiction ◽  
American Literature ◽  
Short Story ◽  
Columbia University ◽  
Contemporary American Literature ◽  
Left Hand ◽  
Radcliffe College ◽  
Neil Gaiman ◽  
Book Award ◽  
National Book

One of the most influential voices in contemporary American literature, Ursula K. Le Guin (b. 1929–d. 2018) began publishing in the 1960s and soon became known for her courageous exploration of ethics, ecology, and diversity using fantastic and futuristic settings. Elevating fantasy and science fiction from pulp-era sword and sorcery and space opera, her fiction explores and condemns chauvinistic traditions of colonialism, nationalism, sexism, and racism. Through her literary approach to genre themes and settings, she inspired not only generations of genre writers but also many mainstream writers who incorporated fantastic elements in their work. Ursula Kroeber was born on in Berkeley, California. Her parents were the Alfred Kroeber, pioneering anthropologist, and Theodora Kroeber, author of Ishi in Two Worlds. She graduated from Radcliffe College in 1951, earned a masters degree from Columbia University in 1952, and married historian Charles Le Guin in 1953. A prolific writer, she published more than sixty books including novels for adults and young adults, picture books, short story collections, critical nonfiction, poetry, screenplays, and works of translation. Genre and mainstream recognition occurred throughout her career. Her first fantasy novel, A Wizard of Earthsea (1968), earned the Boston Globe-Horn Book Award. Her groundbreaking novel The Left Hand of Darkness (1969) won Hugo and Nebula Awards. She was only the second woman to receive both honors for one book. The Farthest Shore (1973) won the National Book Award for Young People’s Literature. The Dispossessed (1974) won Locus, Nebula, and Hugo Awards. Overall, her novels alone received five Locus, four Nebulas, two Hugos, and one World Fantasy Award. In 1989 she accepted the Pilgrim Award for her critical work. In 1994, 1996, and 1997, she earned Tiptree Awards for her exploration of gender through her depiction of androgyny and alternative cultures that privilege nonheteronormative marriage. Le Guin’s lifetime achievement awards recognize her importance in American literature. In 2000, the US Library of Congress named her a Living Legend for her significant contributions to America’s cultural heritage. In 2002, she won the PEN/Malamud Award for excellence in short fiction and the Grand Master Award from the Science Fiction Writers Association. In 2014, she received the National Book Foundation Medal for Distinguished Contribution to American Letters. In his introduction to her National Book Award acceptance speech, author Neil Gaiman describes her as someone who made him not only a better writer but also a better person as a writer.

Building Asian Canadian Literary Studies

2018 ◽  
Author(s):  
Eleanor Ty
Keyword(s):  
Science Fiction ◽  
American Literature ◽  
South Asian ◽  
Identity Politics ◽  
Asian American ◽  
Literary Studies ◽  
Canadian Literature ◽  
Early 21St Century ◽  
The Past ◽  
Statistics Canada

Asian Canadian Literary Studies is a relatively new field of study which began in the mid to late 1990s. Even though literature written by Chinese, Japanese, and South Asian Canadians had been published in literary magazines and anthologies since the 1970s, the identification of a distinct body of works called “Asian Canadian literature,” as Donald Goellnicht has noted (in “A Long Labour”), began only when there was a sociopolitical movement focused on identity politics. The literature includes early experiences of Chinese in Gum San or “gold mountain”; Japanese Canadian internment during the Second World War; South Asian Canadians diasporic writing from former British colonies like India, Pakistan, Sri Lanka, Bangladesh, Trinidad, Guyana, Tanzania, and Kenya; feminist experimental and genre writing; and writing from the post-1975 wave of first- and 1.5-generation immigrants and refugees. Early 21st-century works have moved from mainly autoethnographic stories to those that include larger sociocultural concerns, such as poverty, domestic violence, the environment, lesbian, queer, and transgender issues, and other intersectional systems of oppression that face Asian Canadians and other marginalized groups. Genres include memoirs, films, short stories, autobiographies, realist novels, science fiction, graphic novels, poetry, plays, and historical novels. In the past, without naming the field “Asian Canadians,” many critics have engaged with Asian Canadian literary texts. For example, articles and chapters about Joy Kogawa’s Obasan can be found in journals and books on Canadian, postcolonial, ethnic, and Asian American literature. South Asian Canadian literature also has strong links with postcolonial studies and institutions, such as the book publisher TSAR Publications, which began as the literary journal, The Toronto South Asian Review. In Canadian English usage, Asian usually refers to people from East and Southeast Asian while the term South Asian Canadian is a subgroup of Asian Canadian, according to Statistics Canada. In literary studies, it has only been in the past ten or fifteen years that the term “Asian Canadian” is used as a pan-ethnic term for all peoples who are originally from or have roots in Asia.

Modernism and Asian American Writers

2019 ◽  
Author(s):  
Audrey Wu Clark
Keyword(s):  
Civil Rights ◽  
American Literature ◽  
Asian American ◽  
Chinese American ◽  
Popular Front ◽  
Japanese American ◽  
Civil Rights Era ◽  
American Writer ◽  
Literary Anthologies ◽  
Political Solidarity

In her pathbreaking book Asian American Panethnicity (1992), Yen Le Espiritu traces Asian American panethnicity to the Yellow Power movement of the civil rights era of the 1960s. Thereafter the political struggles of Chinese, Japanese, Korean, Indian, and Filipino Americans were documented in literature and studied in literary anthologies such as Frank Chin et al.’s Aiiieeeee! (1974) and David Hsin-Fu Wand’s Asian-American Heritage: An Anthology of Prose and Poetry (1974). However, early Asian American literature suggests that Asian American consciousness emerged earlier than the civil rights era. During the era of Chinese exclusion (1882–1943), Chinese American writers such as Lee Yan Phou, Sui Sin Far, and Onoto Watanna—Sui Sin Far’s sister, who wrote under a Japanese pseudonym—wrote about Chinese American and Japanese American experiences. The subsequent era of Japanese exclusion (1907–1945) brought about the modernist haiku poetry of Japanese American writers Yone Noguchi and Sadakichi Hartmann. Nevertheless, it wasn’t until the Popular Front era of the 1930s that various forms of panethnic and queer Asian American political consciousness emerged in the literature of Korean American writer Younghill Kang, Filipino American writers Carlos Bulosan (who mentions Kang in his novel, America Is In the Heart) and José García Villa, and Chinese American writer H. T. Tsiang. The politically progressive Popular Front of the 1930s, together with the influence of experimental literary forms of high modernism from just a decade before, set the stage for the Asian American panethnicity and queer consciousness that are described in the works of Kang and Bulosan, and Villa and Tsiang, respectively. Kang’s autobiographical novels The Grass Roof (1931) and East Goes West: The Making of an Oriental Yankee (1937) and Bulosan’s novel, America Is in the Heart (1943) exhibit important thematic influences by T. S. Eliot’s The Waste Land and “The Love Song of J. Alfred Prufrock.” Likewise, Villa’s Have Come, Am Here (1942) and Tsiang’s novels The Hanging on Union Square (1935) and And China Has Hands (1937) demonstrate the influence of queer modernist Gertrude Stein. Just a few decades earlier, Yone Noguchi and Sadakichi Hartmann were both writing modernist haikus that responded to those of their friend Ezra Pound. However, without the language of political solidarity that the Popular Front provided, Noguchi’s and Hartmann’s politics, implicit in their poetry, remained overlooked by critics until the 1990s.

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