Physical, Hybrid, and Digital Escape Rooms

Contemporary society has demanded innovative solutions for the uncertainties that the COVID-19 pandemic has imposed in our educational system. Gamification has long demonstrated that students' active engagement provides positive results if taken into account in the design of the educational strategies. One of the innovative solutions that this chapter proposes through the use of gamification is the tool of educational escape rooms. In order to do this, it provides three study cases implemented in the ESL classroom and the classroom of “Introduction to Literary Techniques” at the University of Granada. Doing so, it provides solutions and recommendations for the identified challenges to use these tools in the classrooms by introducing escape rooms within different educational scenarios as well as proposing affective pedagogies as a robust theoretical and methodological framework.

Literary Techniques in Journalism Essay Writing

To what extent does the press article rely on Literary Techniques to direct content on the Saudi National Day? Applied study on Al-Yaum newspaper, from January – July 2020. The main objective of this study was identified that to what extent does the press article rely on Literary Techniques to direct content on the Saudi National Day?,The descriptive method is used to describe the situation and analyse the results. Observation and content analysis sheets were used as tools of this study. 27 opinion essays were represented an Intentional sample, from content analysis population. The results were: All the articles published on the 89th National Day in the digital newspaper Al-Youm used literary methods except for the assonance style that was not used by the writers. The types of opinion essays that dealt with themes of patriotism are the most essays used the rhetorical methods. The published articles aimed to enhance the value of patriotism.

DOCUMENTALITY AND ARTISTRY OF “SMALL STORIES” BY V.S. BAEVSKY (BASED ON THE MATERIAL “LIFE AFTER (SMALL STORIES)”)

The article deals with the problem of the ratio of documentary and fiction in a special literary genre of non-fiction based on the work “Life after (small stories)” by the philologist V.S. Baevsky. The study of the genre of non-fiction remains relevant for literary studies, and this problem, studied on the material of V.S. Baevsky's prose, has not previously become a subject for study. Within the framework of the proposed research, it is concluded that the documentary accuracy of historical events, geographical names, and the appeal to real personalities reflected in the work do not deny the artistic authenticity of the work. At the same time, the facts of history, personal biography of the author and his relatives are organically woven into the verbal fabric of the narrative. The family is presented against the background of the most important historical events (war, evacuation, perestroika), which indicates the inextricable connection between the fate of a person and the fate of the country. This allows Baevsky, on the one hand, to analyze his life path, on the other - to show a person of a transitional era and the historical reality in which he found himself. In the work, the author actively turns to literary techniques that promote artistic expressiveness and imagery, create an artistic world of “small stories”.

Fashions of Snæfellsness

The sagas of Icelanders (Íslendingasögur) are an important part of European literary history. Both the sagas’ historical background and their literary techniques were studied intensely in the last century, but dress and fashion in Old Norse–Icelandic literature received comparatively little attention in this period. Moreover, the literary corpus and textile history have rarely been used to illuminate one another; however, as this article will demonstrate, synthesising data and methodological approaches from both fields can yield new knowledge about both historical textiles and the sagas. This article focuses on four of the sagas of Icelanders that are set on the Snæfellsnes peninsula: Bjarnar saga Hítdælakappa, Bárðar saga Snæfellsáss, Eyrbyggja saga, and Víglundar saga. The central question the article poses is, how are social norms and cultural ideas reflected in clothing and textiles in these sagas? This study presents a comprehensive and multifaceted view of the textile and clothing imagery by combining qualitative and quantitative textual analysis showing how the imagery is an integral part of the narrative rather than an embellishment. The article reveals that clothing and textiles serve an array of functions in the sagas which are linked to the societal order. Several themes — such as masculinity, social rank, and the practice of magic — are shown to have a close connection with clothing as well as other textiles.

Vazov in Bulgarian cinema

The article analyzes the artistic features of the best film adaptations of several works by Ivan Vazov – the novel Under the Yoke and the novellas Characters and Outcasts. It also examines the dialogue between the literary original and the scripts, the cinematic means of expression and the literary techniques. The paper also discusses the director’s concepts and acting achievements in the respective film adaptations.

Simeon Polockij a Playwright: The New Study Aspects

The study of the dramaturgic complex which has come to us in a manuscript created in the 1680s–early 1690s in Moscow (kept in the Austrian National Library, Vienna) established that the dramaturgic heritage of Simeon Polockij was not limited to two plays (about Nebuchadnezzar and the prodigal son) in the «Rythmologion». It also includes morality play about the struggle of the Church with the «host of infidels» and seven interludes, previously known from a single list as an anonymous works of the first third of the 18th century. The analysis of the historical and cultural context of the time the morality play was created, as well as its vocabulary, in particular, a rare lexeme (Turchin) and literary techniques typical for the texts of Simeon Polockij (using of the liturgical texts as a structural and thematic motives), leave no doubt about the authorship. Simeon Polockij is also the author of the interludes that can be proven by the content, plot-thematic, stylistic and lexical calls observed between them. Certain situations, plot motives and the vocabulary of the(«Vertograd mnogostvetnyj», «Rythmologion», etc.). interludes can be identified in the context of Simeon’s works.

Cinematic Resolutions

Turning from fiction to film, chapter six investigates how hard-boiled and subsequent literary techniques have been translated into cinematic triumphs. Excellent scholarship exists on Hollywood’s adaptations of detective fiction beginning in the 1940s, a discussion requiring no review here. But new possibilities emerged in the neo-noir movement of the 1970s, with a sophisticated conversion of written strategies into visual framings and sonic tracks. Three sets of directors produced acknowledged masterpieces: Francis Ford Coppola’s The Conversation, Roman Polanski’s Chinatown, and the Coen brothers’ Blood Simple. In each, inventive camera movements and non-diegetic compositions intensify strains long present in the detective genre, with a fuller devotion to the distractions of “furniture” and a more pronounced focus on dialogue as snappy performance having replaced character construction, even plot.

Symbolism in Charles Dickens’s Oliver Twist (1837-9): A critical study: الرمزية الأدبية في رواية تشارلز ديكنز "أوليفر تويست" دراسة نقدية

When Charles Dickens wrote Oliver Twist in the 1830s, poverty and crime were huge problems in London. To highlight these problems throughout his novel, the author used various literary techniques to create an interaction between the reader and the text in which text can have multiple meanings that can shift over the time. Thus, he uses symbols to evoke a range of additional meaning and significance. His purpose is to get the reader’s attention to construct meaning as the plot progress to what he intends to communicate about innocent individuals or villainous ones. Symbolism, irony, and satire were among the tools he used in his work. They work together to convey a deeper embedded meaning to cast suggestions about the development of the novel to emphasize the point the author seeks to stress throughout the novel. Drawing upon the importance of literary devices in unfolding the thematic concerns of the novel, this paper seeks to run an in-depth analysis of how symbolism played a vital role throughout Oliver Twist. The paper argues that through symbolism, the author channels meaning in Oliver Twist to develop the thematic concerns of the novel in creative ways to shape the reader’s response and to create a strong bond between the reader and the text. The paper argues that literary symbolism in Charles Dickens’s novel is based on evoking the mental image in the reader’s mind to structure meaning through his/her interaction with the text and then shaping his response according to his/her experience. It also creates a strong bond between the reader and the text.

Sympathy and Empathy

Sympathy and empathy are complex and entwined concepts with philosophical and scientific roots relating to issues in ethics, aesthetics, psychology, biology, and neuroscience. For some, the two concepts are indistinguishable, the two terms interchangeable, but each has a unique history as well as qualities that make both concepts distinct. Although each is associated with feeling, especially the capacity to feel with others or to imaginatively put oneself “in their shoes,” the concepts’ sometimes shared, sometimes divergent histories reveal more complicated origins, as well as vexed and ongoing relations to feeling and emotion and to the ethical value of emotional sharing. Though empathy regularly is considered the more advanced and egalitarian of the two, it shares with sympathy a controversial role in historical debates regarding questions of an inborn or divine moral sense, prosocial behavior and the development of human communities, the relation of sensation to unconscious mental processes, brain matter, and neurons, and animal/human difference. In literary criticism, sympathy and empathy have been key components of aesthetic movements such as sentimentalism, realism, and modernism, and of literary techniques like free indirect discourse (FID), which are thought (by some) to enhance readerly intimacy and closeness to novelistic characters and perspectives. Both concepts have also received their fair share of suspicion, as the capacity to feel, or imagine feeling, the emotions of others remains a controversial basis for ethics.

The Language of Fiction

The Language of Fiction brings together new research on fiction from philosophy and linguistics. Fiction is a topic that has long been studied in philosophy. Yet recently there has been a surge of work on fictional discourse in the intersection between linguistics and philosophy of language. There has been a growing interest in examining long-standing issues concerning fiction from a perspective informed both by philosophy and linguistic theory. The Language of Fiction contains fourteen essays by leading scholars in both fields, as well as a substantial Introduction by the editors. The collection is organized in three parts, each with their own introduction. Part I, “Truth, reference, and imagination”, offers new, interdisciplinary perspectives on some of the central themes from the philosophy of fiction: What is fictional truth? How do fictional names refer? What kind of speech act is involved in telling a fictional story? What is the relation between fiction and imagination? Part II, “Storytelling”, deals with themes originating from the study of narrative: How do we infer a coherent story from a sequence of event descriptions? And how do we interpret the words of impersonal or unreliable narrators? Part III, “Perspective shift”, zooms in on an alleged key characteristic of fictional narratives, viz. the way we get access to the fictional characters’ inner lives, through a variety of literary techniques for representing what they say, think, or see.