This chapter discusses the extent to which it is feasible to talk of a black Brazilian literary tradition that is somehow cohesive, conscious of itself and self-reflective. In looking at works by black fiction writers during the second half of the twentieth century, such as Romeu Crusoé, Oswaldo de Camargo, Cuti, Geni Guimarães, Marilene Felinto and Muniz Sodré, it suggests that writers of African descent who self-identify as black Brazilians are to a large extent bound by identification with (...) region as much as they are with skin colour, in a similar way to other ‘ethnic’ writers in Brazil. (shrink)

O presente ensaio parte dos questionamentos construídos por Machado de Assis no artigo “Notícia da atual literatura brasileira: instinto de nacionalidade”, para analisar o lugar que o discurso marginal ocupa na produção literária contemporânea. Nesta perspectiva, utilizando como referência o conceito construído por Machado de Assis, investigo a possibilidade de observarmos a presença de um “Instinto de Marginalidade” na atual literatura brasileira, que não mais se baseia no intuito de formação de uma “literatura nacional”, isto é, unificadora e essencialista, mas (...) como vozes da dissonância e da alteridade. Assim, se o “Instinto de nacionalidade”, detectado por Machado em sua época, serviria a uma busca de independência, não estaríamos igualmente presenciando um ensejo de diferenciação das minorias? E, dessa forma, ainda seguindo os passos do crítico, não correríamos o risco da busca de uma “cor local” que salvaguardaria as fronteiras entre margem e centro? (shrink)

A partir da leitura de contos do livro Ninguém é inocente em São Paulo, de Ferréz, o artigo investiga como a literatura marginal/periférica brasileira representa a experiência urbana por meio de personagens oriundos da periferia. Após essa investigação, o trabalho se desdobra sobre como conceitos de deslocamento e apropriação permitem articular a relação entre periferia e centro urbanos, com ênfase no processo de urbanização da cidade de São Paulo.

This volume presents the proceedings from the Eleventh Brazilian Logic Conference on Mathematical Logic held by the Brazilian Logic Society in Salvador, Bahia, Brazil. The conference and the volume are dedicated to the memory of professor Mario Tourasse Teixeira, an educator and researcher who contributed to the formation of several generations of Brazilian logicians. Contributions were made from leading Brazilian logicians and their Latin-American and European colleagues. All papers were selected by a careful refereeing processs and (...) were revised and updated by their authors for publication in this volume. There are three sections: Advances in Logic, Advances in Theoretical Computer Science, and Advances in Philosophical Logic. Well-known specialists present original research on several aspects of model theory, proof theory, algebraic logic, category theory, connections between logic and computer science, and topics of philosophical logic of current interest. Topics interweave proof-theoretical, semantical, foundational, and philosophical aspects with algorithmic and algebraic views, offering lively high-level research results. (shrink)

Abstract:This article theorizes the disruptive epistemic work performed by microcosms in recent eco-fiction. Contemporary fiction often explores large-scale ecological disruption through smaller organisms and environments, enabling readers to perceive the Earth through analogy, allegory and metaphor. Within and against this scale-free reading, I argue that the microcosm has become a fracturing trope that troubles relations between scales. Drawing on fiction by T. C. Boyle, A. S. Byatt, Amitav Ghosh, Ali Smith, and Karen Tei Yamashita, I read (...) the microcosm as a critical tool of Anthropocene awareness, because it foregrounds and questions scalar collapse–the epistemic projection of one scale onto another. (shrink)

This essay examines how Brazilian literature has broached changes in the country’s political and social scenario since 2013. Literary production has not only considered socio-political upheavals such as the 2013 protests, the 2016 impeachment of President Dilma Rousseff, and, more recently, the assassination of Rio city council member Marielle Franco as well as the 2020-21 COVID-19 pandemic. Literature has also expanded the signification of “democracy,” broadening the democratic lexicon by employing a language of both demands and entitlements and dispute. (...) By creating a democratic imaginary that oscillates between vindication and exigency, contemporary Brazilian literature delineates the tensions inherent to present-day democratic culture, poised between expanding rights and what scholars have called a "democratic erosion."Keywords: Democracy. Democratic Erosion. Literature. Poetry. ResumoEste ensaio examina como a literatura brasileira tem abordado mudanças no cenário político e social do país desde 2013. A produção literária não aborda apenas levantes sociopolíticos como os protestos de 2013, o impeachment da presidente Dilma Rousseff em 2016 e, mais recentemente, o assassinato da vereadora Marielle Franco e a pandemia COVID-19. A literatura também tem expandido o significado de “democracia”, ampliando o léxico democrático ao empregar uma linguagem de demandas, direitos e disputa. Ao criar um imaginário democrático que oscila entre a reivindicação e a denúncia, a literatura brasileira contemporânea delineia as tensões inerentes à cultura democrática atual, equilibrada entre a expansão de direitos e o que os estudiosos chamam de "erosão democrática".Palavras-chave: Democracia. Erosão Democrática. Literatura. Poesia. (shrink)

Judie Newman's Utopia and Terror in Contemporary American Fiction offers an illuminating analysis of the ways in which twenty-first-century U.S. writing has begun to turn its back on what Kathryn Hume has called the "Aggressive Fictions" by prominent postmodern writers in the final decades of the twentieth century: texts designed to "repel" their readers by the likes of William Burroughs, Philip Roth, Katherine Dunn, and Bret Easton Ellis that Hume identifies in various ways with "the politics of political (...) despair". In contrast, Newman traces a more recent trend toward emotional immersion, or a focus on narratives that actively draw the reader in. In this way, her book complements work on the topics of... (shrink)

Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about the human (...) self and our interaction with the world. Apart from these well-known science fiction epics, her analysis also draws on recent works, such as Inception, The Thirteenth Floor, eXistenZ, Aeon Flux, Total Recall (2012), Transcendence and TRON: Legacy. These films stimulate an engaging discussion on what makes us human, the role memory plays in understanding ourselves, and how virtual realities challenge the moral concepts that govern human relationships. (shrink)

In Alice Walker’s vignette “The Flowers,” a young black girl’s walk in the woods is interrupted when she treads “smack” into the skull of a lynched man. As her name predicates, Myop’s age and innocence obstruct her from seeing deeply into the full implications of the scene, while the more worldly reader is jarred and confronted with a whole history of racial violence and slavery. The skeleton, its teeth cracked and broken, is a temporal irruption, a Gothic “smack” that shatters (...) the transience of the pastoral scene with the intrusion of a deeper past from which dead matter/material de-composes the story’s present with the violent matter/issue of racism. Walker’s story is representative of an important trope in fiction, where the pastoral dead speak through the details of their remains, and the temporal fabric of text is disrupted by the very substance of death. Against the backdrops of Terry Gifford’s post-pastoral and Fred Botting’s Gothic understanding of the literary corpse as “negative[ly] sublime,” this essay explores the fictional dead as matter unfettered by genre, consistently signifying beyond their own inanimate silences, revealing suppressed and unpalatable themes of racial and sexual violence, child abuse and cannibalistic consumerism. Along with Walker’s story, this study considers these ideas through new readings of Stephen King’s novella The Body, Raymond Carver’s story “So Much Water So Close to Home,” and The Road by Cormac McCarthy. While these writers may form an unlikely grouping in terms of style, each uses pastoral remains as significant material, deploying the dead as Gothic entities that force the reader to confront America’s darkest social and historical matters. (shrink)

_Contemporary Moral and Social Issues_ is a uniquely entertaining introduction that brings ethical thought to life. It makes innovative use of engaging, topically oriented original short fiction, together with classic and influential readings and editorial discussion as a means of helping students think philosophically about ethical theory and practical ethical problems. Introduces students to ethical theory and a range of practical moral issues through a combination of key primary texts, clear editorial commentary, and engaging, original fiction Includes discussion (...) of topics such as world poverty, abortion, animals, the environment, and genetic engineering, containing “Facts and Factual Issues” for each topic to give students an up-to-date understanding of related factual issues. Uses immersive, original short works of fiction as a means to engage students to think philosophically about serious ethical issues. (shrink)

This article explores some innovations in the concept of identity in contemporary science fiction film. Using a narrative-semiotic method of analysis, the article discusses an emerging trend in science fiction that questions mainstream cultural beliefs regarding motivations for action and definitions of individual agency. Focusing on Alex Proyas's Dark City and Andrew Niccol's Gattaca, the article traces the ways in which this trend rearranges elements in narrative positioning to bring to light relational possibilities that challenge privileged attitudes (...) toward who we are and why we act the way we do. The selected films deal creatively with questions concerning the causal eects of past events, origins, or heritage, and give innovative answers to complex philosophical issues about the nature of reality. At the same time, they retain a popular aesthetic and a classical narrative structure. Their common characteristic is a narrative program composed of signs of resistance to notions of a fixed identity 'caused' by biography or genetic inheritance. These signs, furthermore, form the basis of unconventional interpretations of self and action that serve as catalysts in dismantling outmoded definitions of identity. The article explores these issues following a content-based approach that focuses on how agents and acts are constructed on the story level. (shrink)

INTRODUCTION JEAN-MICHEL GANTEAU AND SUSANA ONEGA The rise of trauma theory in the critical field is a recent phenomenon associated with the revival of ...

This book argues for the ethical relevancy of contemporary fiction at the beginning of the 21st century. The writers discussed in Contemporary Fiction and the Ethics of Modern Culture pay close attention to the concrete realities of the everyday world, such as the feelings of isolation created in urban environments; the roles played by sports, drugs, advertising, and the media; and the widespread use of computer, telecommunication, and entertainment technologies. Through reading novels by such writers as (...) David Foster Wallace, Richard Powers, and Irvine Welsh, this book looks at how these works seek to transform the ways that readers live in the world. This book should appeal to scholars of contemporary literature, persons interested in cultural studies, critics interested in ethics, scholars of Gilles Deleuze and Felix Guattari, students of contemporary literature, and general readers of contemporary literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Research on the Transformation of Contemporary Chinese Science Fiction by Zhan LingShaoming DuanZhan Ling. Research on the Transformation of Contemporary Chinese Science Fiction. Beijing: China Social Sciences Press, 2022, 324 pages, softcover, ¥ 118.00 ISBN: 978-7-5203-9465-9.Research on the Transformation of Contemporary Chinese Science Fiction is a laudable scholarly endeavor that provides reader with a unique interpretation of the representative works in (...) class='Hi'>contemporary China science fiction. Taking "transformation" as the key word, this book outlines the development process and transformation features of science fiction since the founding of the People's Republic of China (i.e., new China). Starting with the investigation of the reasons for each transformation, this book combs the changes in the creative values, scientific views, and aesthetics of science fiction in more than seventy years. The book also aims to show the literary achievements of contemporary Chinese science fiction, affirm the academic values of "transformation" from the perspective of literary development history, and points out the existing shortcomings. This book will interest global scholars in literary studies, especially those in the field of Chinese science fiction studies. The detailed studies of contemporary Chinese science fiction by Zhan Ling connect her primary sources with wider temporal and spatial contexts. Zhan Ling approaches contemporary Chinese science fiction that was mostly unknown to the scholars of the twenty-first century, some of which were underestimated and even ignored for a long time.The book has an introduction, seven chapters, and a conclusion. The introduction briefly introduces the origin of Chinese science fiction. There was no category of "science fiction" in ancient Chinese literary tradition; it actually appeared in the late Qing dynasty. At that time, the Qing government was defeated miserably by Western powers in the two [End Page 521] "Opium Wars" and was forced to sign a series of unequal treaties with Western powers, which greatly damaged China's sovereignty and territorial integrity.In order to achieve the goals of "enriching the country and strengthening the army" and "learning foreign technology to counter foreigners," the Qing government decided to carry out the "Westernization Movement" (1861–95), calling on Qing officials to learn and use Western advanced science and technology and set up modern military, industry, and civilian enterprises. Science fiction, as a kind of literature directly linked with Western science and technology, had been introduced into China. In 1872 the Chinese version of Washington Irving's Rip Van Winkle was published in Shanghai Shen Daily, which opened the exploration of science fiction in Chinese literature. In 1904 Huang Jiangdiaosou (pen name) wrote the first Chinese science fiction, The Moon Colony. The intellectuals in the late Qing dynasty regarded science fiction as the literary practice of "saving the country through science" (6). Science fiction had contributed to the establishment of modern scientific consciousness for the pedantic people in the late Qing dynasty. The decline of the Qing dynasty was marked by the invasion and encroachment of the Western powers, which marked the formation of Chinese semicolonial and semifeudal society; This, in turn, contributed to the development of science fiction in China.The main body consists of seven chapters. Zhan Ling discusses the changes and transformations in the development of science fiction in contemporary China. The founding of new China marked the full rule of the Communist Party of China. In order to distinguish from the Kuomintang rule, the Communist Party called it "contemporary" after 1949. According to this "division," "contemporary science fiction" of the title refers to the science fiction published in mainland China after 1949. Compared with the past, science fiction in contemporary China has made great progress in quality and quantity (12).Zhan Ling divides the development of science fiction in contemporary China into four stages. The first phase was from 1949 to 1966. The second phase is from 1978 to 1984. The third phase is from 1985 to 1999. The fourth phase is the twenty-first century. The book tries to integrate the development history of contemporary Chinese science fiction into the development history of Chinese science fiction for research, and even puts contemporary Chinese science fiction into the development history of world science fiction [End Page 522... (shrink)

In "World Literature, Industrialization, and the Two Faces of Contemporary Chinese Science Fiction" Yiping Wang discusses contemporary Chinese science fiction against the backdrop of the influence of world literature and the development of industrialization in China. Wang argues that two sides represented respectively by Liu Cixin and Han Song constitute the feature of contemporary Chinese science fiction. The side characterized by the works of Liu Cixin is the close connection with world science fiction (...) and the positive attitude and consistency with technological innovation and industrialization in China while the other side has Han Song as its representative, whose works, with similarities to high literature of world canons and the mainstream Chinese literature, reflect on the development of technology and industrialization focusing on individuals and disasters in the shadow of modernization. These two sides join together in the illustration of the basic image of science fiction in contemporary Chinese literature. By absorbing the essence of world literature and echoing the concerns of the nation, contemporary Chinese science fiction surmounts the hierarchy of literary genres and make its way into the active center of world literature. (shrink)

Marriage, in fiction even more than in life, has been the woman's adventure, the object of her quest, her journey's end. Contemporary fiction modulates the formula in one respect: the abandonment of marriage replaces the achievement of it. While it is obvious what these fictional women detest in marriage, it is not always clear what they desire. How, indeed, might clarity be expected about an institution whose success depends so much upon woman's failure at autonomy? So the (...) women split: Kinflicks, Small Changes, The Women's Room, Loose Ends, The Oracle—these are merely representative of a long list. What is new in these books is that we are seeing marriage at all—seeing it, moreover, from a woman's point of view. "What about Norm?" the narrator asks in The Women's Room; "Who is he, this shadow man, this figurehead husband?"1 In fact, who Norm is, who all the husbands are, is clear: those who need someone to take care of their domestic, cooking, cleaning, sexual, breeding needs while they are out attending to civilization and their own appreciation of life. Even the least intelligent husbands realize that a change in marriage profound enough to satisfy the fleeing wives would profoundly alter the foundation of that conservative community, the family. Freud had urged women not to interfere with man in his pursuit of civilization; and this is the way it is, the way men want it to be. · 1. Marilyn French, The Women's Room , p. 193. Carolyn G. Heilbrun, professor of English at Columbia University, is the author of, among other works, Toward a Recognition of Androgyny. Her book, Reinventing Womanhood, includes parts of this present essay. (shrink)

El documental ha sido tradicionalmente una práctica cinematográfica tremendamente compleja y problemática, en tanto basa su autoridad en presentar el “mundo histórico”, al tiempo que es claro que ha recurrido a diversas estrategias ficcionales. En este contexto, este artículo reflexiona acerca de estas estrategias y su uso en tres documentales contemporáneos: Los rubios, Vals con Bashir y La imagen perdida. La hipótesis de trabajo plantea que el reconocimiento de la fragmentación de la subjetividad y la fragilidad de la memoria hacen (...) necesaria la inclusión de diversas estrategias como el escamoteo de las expectativas de los espectadores, el uso de imágenes animadas y las múltiples disyunciones entre voz, imagen y autoría. (shrink)

Sellers explores contemporary women's rewritings of myth and fairy tale, asking why mythical paradigms continue to have such potency despite the distorted images of gender they often present. A series of readings of texts is given in illustration.

In this entry I present one of the most hotly debated issues in contemporary analytic philosophy regarding the nature of fictional entities and the motivations that might be adduced for and against positing them into our ontology. The entry is divided in two parts. In the first part I offer an overview of the main accounts of the metaphysics of fictional entities according to three standard realist views, fictional Meinongianism, fictional possibilism and fictional creationism. In the second part I (...) describe two main kinds of arguments for or against positing fictional entities into our ontology. The first kind is traditionally inspired by the linguistic data coming from our talk about fictional characters. The second kind is more recent and it builds on genuine ontological considerations. (shrink)

Although there are many, mostly male, contemporary writers in Brazil whose narratives of urban violence and social inequality implicitly reflect the impact and legacy of slavery on contemporary society, it is interesting that this shameful period, and shockingly brutal events which seem to prove wrong the myths of gentle colonization and harmonious racial democracy, should be chosen as subject matter by four women writers. While very different novels, Adriana Lisboa’s Os Fios da Memória [The Threads of Memory], Conceição (...) Evaristo's Ponciá Vicêncio, Ana Maria Gonçalves's Um Defeito de Cor [A Defect in Colour] and Tatiana Salem Levy's Paraíso [Paradise] all deal frankly with the horrors of slavery and its aftermaths from the point of view of the most vulnerable member of colonial society: the enslaved African woman. This article analyses the ways in which these writers claim justice for their characters and remind readers that those excluded from official histories had names, faces and voices. (shrink)

The Fiction of Postmodernityis a significant and accessible new study of the relation of postmodern fiction to theories of the postmodern. Contemporary works of fiction by novelists such as Don DeLillo, Toni Morrison, Salman Rushdie, Thomas Pynchon and Martin Amis are viewed in relation to critiques of the 'culture industry', analyses of the 'postmodern condition' and theories of simulacra. The work of influential theorists of the postmodern - such as Theodor Adorno, Jean-François Lyotard, Fredric Jameson and (...) Jean Baudrillard - is explained and compared. The book offers descriptions of the postmodern from both the Marxist critical tradition and from the perspective of postmarxism. Key features in both these definitions are explained in relation to modernist and postmodern works of fiction. Issues relating to the postmodern representation of history and the development of a postmodern politics are also addressed in relation to works of contemporary fiction. Key Features Substantial readings of fiction by major contemporary authors (e.g. Thomas Pynchon, Salman Rushdie, Don DeLillo) Introduces influential theories of the postmodern (Fredric Jameson, Jean-François Lyotard, Jean Baudrillard) Analysis of the relationships of modernism and the avant-garde to postmodernism Focuses on the critical potential of postmodernism and postmodern fiction. (shrink)

This paper deals with phenomenological distinctions concerning empathy with real persons and empathy with fictional characters. We will introduce both contemporary accounts of our perception of others and Edith Stein’s account of empathy. These theories will turn out to be fruitful in defending our main thesis, i.e. that the differences between empathy with real people and empathy with fictional characters are not structural but just qualitative. We will argue that in both cases empathy is a direct act of perceiving (...) others and their lived experience. However, stemming from Stein’s work, we will underline that empathy with real persons is in principio more vivid and intense than empathy with fictional characters. In order to identify similarities and differences between empathy de vivo and empathy in fiction, we will focus on the following issues: the quality of perception; the motivational context and the “life-world context”; the ontological status of persons vs. characters. (shrink)