scholarly journals Альтернативний погляд на альтернативну історію

Author(s):  
Olena Brovko

The article is a review of a text entitled Alternative history as a meta-genre of Ukrainian and foreign prose: Comparative genealogy and poetics by Antonina Anistratenko, scientific editor: Halyna Syvachenko (Chernivtsi, 2020). The monograph consists of 548 pages. The subject of the study is the comparative genology and poetics of the alternative history meta-genre. According to the researcher’s well-founded belief, the subgenre accumulates a corpus of science fiction texts, fantasy literature with a component of the formula of alternative history in the artistic structure. Antonina Anistratenko analyses the works of representatives of different national literatures as well as develops an original hierarchical model of alternative history. 


2021 ◽  
Author(s):  
Bogusław Dopart

The title of the present monograph refers to one of the most fundamental traits of the oeuvre and literary life of Adam Mickiewicz. While constantly occupied with invigorating and broadening the subject- -matter of his works, Mickiewicz is careful to follow a steady track of ideas, concepts, and truths. In constructing successive models of poetic worlds and varying them even within single works, he incessantly integrates them into a dynamic, open universe of the ‘man of transformations’ (in Wacław Borowy’s phrasing) in accordance with the ontic position and experience of a Romantic writer. Diversity and variance of poetic forms in Mickiewicz is counterbalanced by his leaning towards regularity and structural connectedness: cycles. As early as his first critical manifesto, he opposes a schematic labeling of his creative output; he presents the history of European poetry in terms of overlapping traditions and gradual differentiation of national literatures.



Inception ◽  
2019 ◽  
pp. 7-8
Author(s):  
David Carter

This introductory chapter provides an overview of Christopher Nolan's Inception (2010). Inception blurs the distinctions between various genres. It is considered as science fiction although it does not contain many of the elements associated with the genre. It can also be identified as a kind of heist film, and the first part of the film, the extraction, certainly involves a complex robbery; but then the second part of the film, while having many of the trappings of a heist, involves putting something into a heavily guarded location rather than stealing from it. Moreover, the heist motifs and the film's character types are reminiscent of film noir. Inception can also be described as a psychological thriller and it deals with the subject of time and how dreams are related to the conscious and unconscious mind.



Author(s):  
Tony Hallam

When the subject of extinctions in the geological past comes up, nearly everyone’s thoughts turn to dinosaurs. It may well be true that these long-extinct beasts mean more to most children than the vast majority of living creatures. One could even go so far as to paraphrase Voltaire and maintain that if dinosaurs had never existed it would have been necessary to invent them, if only as a metaphor for obsolescence. To refer to a particular machine as a dinosaur would certainly do nothing for its market value. The irony is that the metaphor is now itself obsolete. The modern scientific view of dinosaurs differs immensely from the old one of lumbering, inefficient creatures tottering to their final decline. Their success as dominant land vertebrates through 165 million years of the Earth’s history is, indeed, now mainly regarded with wonder and even admiration. If, as is generally thought, the dinosaurs were killed off by an asteroid at the end of the Cretaceous, that is something for which no organism could possibly have been prepared by normal Darwinian natural selection. The final demise of the dinosaurs would then have been the result, not of bad genes, but of bad luck, to use the laconic words of Dave Raup. In contemplating the history of the dinosaurs it is necessary to rectify one widespread misconception. Outside scientific circles the view is widely held that the dinosaurs lived for a huge slice of geological time little disturbed by their environment until the final apocalypse. This is a serious misconception. The dinosaurs suffered quite a high evolutionary turnover rate, and this implies a high rate of extinction throughout their history. Jurassic dinosaurs, dominated by giant sauropods, stegosaurs, and the top carnivore Allosaurus, are quite different from those of the Cretaceous period, which are characterized by diverse hadrosaurs, ceratopsians, and Tyrannosaurus. Michael Crichton’s science-fiction novel Jurassic Park, made famous by the Steven Spielberg movies, features dinosaurs that are mainly from the Cretaceous, probably because velociraptors and Tyrannosaurus could provide more drama.



Author(s):  
Thomas N. Sherratt ◽  
David M. Wilkinson

As we wrote the first draft of this chapter (during early summer 2007), the potential dangers of ‘global warming’ had moved up the news agenda to a point where most major politicians were starting to take the problem seriously. Our opening quotation comes from a book published in early 2006, which seemed to coincide with the growth of this wider concern with global warming. Lovelock was not alone in trying to raise awareness of the problem; around the same time another book on climate change by the zoologist and palaeontologist Tim Flannery also attracted global attention to this issue, as did the lecture tours (and Oscar-winning film) of Al Gore—the former US presidential candidate and campaigner on the dangers of climate change. Indeed, in his role as a climate campaigner Gore won a share in the 2007 Nobel Peace Prize. It is possible that future historians will see the period 2005–2007 as the start of a crucial wider engagement with these problems. Things may not be as bad as James Lovelock suggests—in his book he deliberately emphasized the most worrying scenarios coming from computer models, and other evidence, in an attempt to draw attention to the critical nature of the problem. However, all these worst case scenarios were drawn from within the range of results that most climate scientists believed could plausibly happen—not extreme cases with little current evidence to support them. That one of the major environmental scientists of the second half of the twentieth century could write such prose as science—rather than science fiction—is clearly a case for concern about future climate change. It also raises another important question, relating to the history of human influence on our planet: when in our history did we start to have major environmental impacts on Earth as a whole? This is clearly an important issue from a historical perspective, but the answers may also have implications for some of our attempts to rectify the damage. Our discussion of this question comes with various caveats. Many of the arguments we consider in this chapter are still the subject of academic disagreement.



Author(s):  
Jonathan R. Eller

This chapter discusses Hans (later Hannes) Bok's influence on Ray Bradbury's short fiction “Lorelei,” which was inspired by a gift the latter received from the artist and writer: a tempura painting of a strange Bokian creature. In Los Angeles, Bradbury continued to write stories. In the middle of his senior year Bradbury met Bok at one of the meetings of Science Fiction League and was drawn to his tempura compositions. This chapter first looks at Bradbury's friendship with Hannes Bok and their shared fondness for fantasy literature and fairy tales before turning to “Lorelei,” a 10,000-word novella written in July 1938 that articulates Bradbury's fears that the coming World War would destroy him before he could become a writer. It also considers Bradbury's religious faith and experiences, along with his conviction that Man would eventually solve the riddle of the universe.



Author(s):  
ROSNANI MD ZAIN ◽  
NIK RAFIDAH NIK MUAHAMAD AFFENDI

ABSTRAK Estetika merujuk kepada cabang ilmu yang membahaskan perihal keindahan dalam karya sastera. Unsur estetika memainkan peranan penting dalam penghasilan sesebuah karya kreatif, iaitu dijadikan sebagai medium bahasa dalam menyampaikan mesej yang jelas kepada pembaca. Kajian yang dilakukan ini berdasarkan pengamatan pengkaji tentang pendapat sarjana sastera yang mendakwa novel-novel fiksyen sains yang terhasil daripada Sayembara Fiksyen Sains dan Teknologi tidak memaparkan unsur keindahan bahasa kepada pembaca. Sehubungan dengan itu, untuk merungkai permasalahan ini pengkaji menggunakan lima buah novel pemenang Sayembara Fiksyen Sains dan Teknologi iaitu Bekamorfosis (2012) karya Jali Kenoi, Petaka Bakteria (2012) karya Mohd Kasim Mahmud, Puranakila (2015) karya Saadiah Ibrahim, Ajal (2015) karya Ruhaini Matdarin dan Yang Diselindung Samudera (2017) karya Nor Azida Ishak, Fadli al-Akiti dan Ted Mahsun. Kajian yang dilakukan ini juga mempunyai dua objektif kajian iaitu mengklasifikasi dan menganalisis unsur estetika bahasa iaitu penggunaan gaya bahasa yang terdapat dalam novel-novel kajian. Oleh itu, kajian ini menggunakan kaedah kajian kepustakaan, analisis teks dan penerapan Teori Puitika Sastera Melayu yang diasaskan oleh Muhammad Haji Salleh sebagai sokongan terhadap hujahan pengkaji. Hasil kajian yang dilakukan terhadap novel-novel fiksyen sains tersebut pengkaji mendapati dua jenis gaya bahasa yang diketengahkan oleh pengarang iaitu gaya bahasa perbandingan dan gaya bahasa pengulangan. Gaya bahasa tersebut juga dapat dikaitkan dengan konsep estetika dalam Teori Puitika Sastera Melayu iaitu keindahan dalam mendidik atau mengajar, keindahan dalam pengungkapan kesusahan dan kesedihan serta keindahan dalam rasa seperti yang dinyatakan oleh Muhammad Haji Salleh.   ABSTRACT Aesthetics refers to the branch of knowledge that debates the subject of beauty in literary works. The aesthetic element plays an important role in the production of a creative work, which serves as a language medium in delivering clear messages to the reader. This study is based on the study of literary scholars who claim that science fiction novels from the Science and Technology Fiction Contest do not present the language’s beauty element to readers. To this end, the researcher used the five novels of Science and Technology Fiction Contest winners namely Bekamorfosis (2012) by Jali Kenoi, Petaka Bakteria (2012) by Mohd Kasim Mahmud, Puranakila (2015) by Saadiah Ibrahim, Ajal (2015) by Ruhaini Matdarin and Yang Diselindung Samudera (2017) by Nor Azida Ishak, Ted Mahsun and Fadli Al-Akiti. The study also has two objectives of the study which is to classify and analyze the aesthetics of language which is the use of language style found in the research novels. Therefore, this study uses the method of literature review, analysis and application of the theory of poetic text Malay literature founded by Muhammad Haji Salleh in support of the submissions from researchers. As a result of the study of science fiction novels, researchers have identified two types of language styles that the author promotes: comparative language style and repetition language style. The style of these languages can also be associated with the aesthetic concept in the theory of poetic beauty of Malay literature in educating or teaching, discovery of beauty in distress and sadness and beauty in the sense as described by Muhammad Haji Salleh. 



2021 ◽  
Vol 27 ◽  
pp. 467-479
Author(s):  
Oskar Meller

Cultural texts on the subject of posthuman can be found long before the post-anthropocentric turn in humanistic research. Literary explanations of posthumanism have entered the conventional canon not only in terms of the science-fiction classics. However, a different line follows the tradition of presenting posthumanist existence in the comic book medium. Scott Jeffrey accurately notes that most comic superheroes are post- or trans-human. Therefore, the transgression of human existence into a posthumanoid being is presented. However, in the case of the less culturally recognizable character of Vision, a synthezoid from the Marvel’s Avengers team, combining the body of the android and human consciousness, the vector of transgression is reversed. This article is an attempt to analyze the way the humanization process of this hero is narrative in the Vision series of screenwriter Tom King and cartoonist Gabriel Hernandez Walta. On the one hand, King mimetic reproduces the sociological panorama of American suburbs, showing the process of adaptation of the synthesoid family to the realities of full-time work and neighborly intercourse, on the other, he emphasizes the robotic limits of Vision humanization. Ultimately, the narrative line follows the cracks between these two plans, allowing King to present, with the help of inhuman heroes, one of the most human stories in the Marvel superhero universe.



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