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This paper seeks to study select adventures of Feluda (Pradosh C. Mitter), Satyajit Ray's private detective created in 1965. For over two centuries, since the 1890 s, the popular literature of Bengal (India) has been featuring detectives in the detective story called "Goenda Kahini" in Bangla. An acclaimed Bengali litterateur and one of the world's greatest filmmakers, Ray penned 35 adventures on his detective between 1965 and 1990. Initially created for a children's magazine "Sandesh," these adventures along with the magazine's transformation gradually followed a more serious tone. Written in postcolonial India, the time frame of the stories is the 1960s and the 70 s. The texts that this paper proposes to study reflect the social milieu in the aftermath of India's independence – the latent conflicts dealing with stark reality embedded in the narratives that apparently appear innocently fictitious to the readers now. The paper attempts to study beyond the Whodunit crime-inquest-discovery pattern. It looks into aspects of the adventures that go beyond the genre of detective fiction per se. The stories are not merely about crime and criminals; they are excellent travelogues, adventure stories, a source of interesting information about a diverse range of things – history, places, nature, literature, society and culture. The paper argues that these adventures of crime draw to a large extent from the realm of truth – social stigmas and the dark underworld of dons, narcotic mafias and smugglers of the times. Further, the stories based on the actual crises of the fast-fading old-world gentility of the educated Bengali middle-class of the 1960s and the 70 s; the picture of old Calcutta, make the crime narratives of Feluda, an overwhelming metamorphic presentation of fact to fiction. [ABSTRACT FROM AUTHOR]

Astrid Lindgren's Genre Equilibristics The paper examines genre strategies in a number of children's books by the well-known Swedish author, Astrid Lindgren. Drawing on the reception theories of Hans Robert Jauss, Aidan Chambers and Reinbert Tabbert, the paper demonstrates that the stormy reception of Pippi Longstocking (1945), prompted by a review by Professor John Landquist, had principally genrerelated grounds. The book made readers feel a sense of provocation because it challenged their archetextual horizon of expectations by evoking certain traditional genres and simultaneously twisting them in almost anarchic ways. In later books Astrid Lindgren makes a more elaborate use of classic genre structures. She generally chooses one well-known archetext as the generic dominant and allows it to interact with a set of other genres, thus calling forth the main aesthetic effect of the book from the archetextual dialogue between the dominant and the accompanying genres. The paper specifically investigates this polyphonic method in three of Lindgren's most popular books. In All about the Bullerby children (1947-52) the generic dominant is idyll and the subordinated archetexts satire, parody, burlesque, farce, fairy tale and ballad. Mio, my son (1954) can be considered as an artistic fairy tale (Kunstmärchen), this dominant genre correlating with some other interwoven archetexts: apocryphal gospel, myth, legend, heroic tale and idyll. Finally, the generic dominant of Ronia, the robber's daughter (1981) - a novel about the adventures of a band of robbers (Räuberroman) - finds its archetextual counterparts in folktale, popular legend, myth, burlesque, fantasy and Bildungsroman, among others. [ABSTRACT FROM AUTHOR]

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The International Geological Congress has yet formally to adopt the Anthropocene. It is still, to that extent, an imagined epoch. The term 'Anthropocene' refers us to the deep time of geological epochs, but alternate terms for what we can expect to experience have a more specifically anthropological focus: the Capitalocene, Chthulucene and Misanthropocene. Only Entropocene breaks with the humanistic tradition. Comparing Tsui Hark's 2014 The Taking of Tiger Mountain (Zhiqu weihu shan), the second adaptation of Qu Bo's adventure novel of the People's Liberation Army, with the 1970 film of the Peking Opera version directed by Xie Tieli, demonstrates the stakes in imaginations of mountains separated by 45 years. This paper argues that the later film evolves from the failure of the Cultural Revolution's imagination to encompass the landscape of its setting. The increased incoherence of the later film derives from its increased engagement in technical mediations, which in turn enable a complex interaction between utopian Revolution and dystopian Anthropocene imaginaries. [ABSTRACT FROM AUTHOR]

The mysterious and unspoken secrets of life can be a source of fascination for young people. The bildungsroman quest for identity is often coupled with a protagonist's attempts to decode a range of secrets. Jamaica Kincaid's work of fiction, Annie John (1985), illustrates this journey. In this novel, the female protagonist's maturity and character development become possible only through her persistent efforts to decode the secrets of life. This paper discusses how, in a series of adventures, those secrets are embedded into Annie's story and how her coming-of-age mystery is ultimately resolved. [ABSTRACT FROM AUTHOR]

The Artemis Fowl series (2001-2012) is described by its Irish author Eoin Colfer as "Die Hard with Fairies". Artemis Fowl is an-eight book series of adventures and supernatural actions. The starring character, Artemis Fowl, is a twelve-year-old criminal mastermind. His primary goal is to pursue money, which makes him kidnap the fairy leader. This results in a continuing fight between two worlds: Artemis's and the fairies'. The Fowl adventures present many themes, of which gendered discourses and actor representation inspire this research. This paper examines the eight-series child books via Corpus Linguistics apparatus. AntConc is a corpus analysis software utilized to generate wordlists of each book so that words with higher frequency may be investigated in their context of utterance via the concordance toolkit. The next step aims to detect the occurrence of search terms pertaining to gendered discourse and actor description. In this concern, the contributions presented by Tannen (1993, 1999), Edley (2001), Weatherall and Gallois (2003), Sunderland (2004), and Wetherell and Edley (2014) are considered in the detection of gendered language. Van Leeuwen's taxonomy (1996, 2008) of social actor representation is also considered to detect actor descriptions. Accordingly, the eight-series adventure novels are linguistically analyzed so that the main themes, gender identity markers and actor representation may be uncovered. The study supports the discursive psychologists' belief that gender is created and enhanced via discourse. The study is original in incorporating corpus linguistic toolkits, discursive psychology and discourse analysis to child Irish fantasy literature to expose the gendered-identities negotiated and the features representing social actors. [ABSTRACT FROM AUTHOR]

Henry Rider Haggard, the famed author of adventure romances, wrote the novel Dr. Therne (1898) in response to weakening compulsory smallpox vaccination laws, thus entering one of the most heated debates of the late nineteenth century. With Dr. Therne, Haggard aimed to intervene in the lives of the many working-class anti-vaccinationists who, from the 1850s onwards, mobilised to evade what they perceived as a gross – and targeted – extension of state power at the expense of individual rights. Recovering the novel, which has not yet received scholarly attention from historians of medicine, reveals the way fiction was called upon to change minds during a crucial period of Victorian medicine, one that witnessed a climactic shift in public health intervention. This article will examine the reception of Dr. Therne in various print media – middle-class London papers, medical journals and working-class, anti-vaccinationist publications – to consider some new dynamics of the debate which the disagreement over Haggard's polemic exposes, including the perceived power of fiction (when properly priced and distributed) to change minds, and the contested role of the evangelical press. Additionally, a discussion of the different iterations of Dr. Therne , and a look at an exceptional anti-vaccinationist response in the form of a competing novel, illustrates that pro- and anti-vaccinationists alike contributed to a moment in late Victorian society when the role of fiction was considered a worthy contender in a debate ostensibly about fact. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The adventure stories that boys enjoy reading often depict male characters in their exposed becoming and dreaming. Boys are drawn to these adventuring characters in part because such characters portray a masculinity that feels more human than the otherwise stoic masculine norms of Western culture. Taking a cue from adventure literature, this paper addresses adventure and the dreaming spirit as avenues of self-understanding in boyhood. In adventure, this sense of exposure is not experienced in relation to shame but in relation to possibility. Adventure and the dreaming spirit are both motifs that lend themselves to Christian living. Viewing selfhood as adventure can provide boys with a self-concept that feels human. Boys do not always have friendships of mutual trust in their lives where they feel secure addressing their becoming and dreaming. Persons in pastoral roles can offer this kind of accompanying and affirming friendship to boys in their becoming. [ABSTRACT FROM AUTHOR]

In divan literature, long-term stories such as the adventures of two heroes who fall in love with each other, the difficulties they face, and their struggles to be reunited are written in the form of masnavi nazim. Although the main subject in these masnavis is love, the poet spares a place for himself in his work to convey his thoughts and worldview on various subjects to the reader. The poet's own thoughts are often included in the introduction and conclusion sections of the masnavis. In addition to these sections, the poets convey their thoughts on some occasions in the section where the main subject is explained. Through the heroes in the love story told, they express their opinions on issues such as the characteristics of a good ruler, the abilities that a good vizier should have, the responsibilities of women to their families and children, and they try to guide the reader on these issues. Sometimes they do this by talking about the existing features of the hero whose story he started to tell, and sometimes they do this by giving advice to him about a new feature that a hero should have. In our study, five different love masnavis written by different poets in the 16th century was examined. In Fuzûlî's Leylâ and Mecnûn, Taşlıcalı Yahyâ's Yûsuf and Zelîhâ, Celîlî's Hüsrev and Şîrîn, Lamiî's Vâmık and Azrâ and Hamîdî's Hurşîd and Hâver the heroines get advice from an elder who is also a hero of the story when they fell in love or separated from their lovers. These advices are remarkable in terms of reflecting both the view of the poet who wrote the work and perception of women at the time the work was written. In this paper, it will be focused on how the poets of the 16th century expect the female protagonists of the aforementioned masnavis Leylâ, Zelîhâ, Şîrîn, Azrâ and Hurşîd to behave as a young woman falling in love or preparing to marry. [ABSTRACT FROM AUTHOR]

Paul de Faget de Casteljau (19.11.1930 - 24.3.2022) has left us an extensive autobiography, written in 1997. In 19 sections, he takes us through his eventful life which he describes with wit and humor. We read about his youth in occupied France and his education at the Ecole Normale Supérieure. He describes in detail various episodes from his time at Citroën, the situation during and after the discovery of his now famous algorithm, the takeover by Peugeot, his ban from working on CAD and his corporate rehabilitation thanks to his advances in polar forms and quaternions. His memoirs end with his departure from Citroën and his first invited talks at academic conferences. The paper contains the transcribed French original, its English translation and numerous notes and annotations. The handwritten text is available as a digital supplement. • Education and Mindset of de Casteljau. • History of his initial algorithm. • Episodes about the organisational culture at Citroën from the 1960s to the 1990s. • Background of his further findings in trigonometric smoothing, polar forms, quaternions. [ABSTRACT FROM AUTHOR]

Theatre can be a powerful tool for exploring social justice issues, but it can also reproduce whiteness, ableism, and other systemic oppressions. As theatre educators--constrained by many competing demands on our time, resources, and energy--we want to know: how can we leverage our teaching artistry to authentically explore social justice issues with the young people and adults in our communities? Speaking from our experiences at a nonprofit theatre in a majoritywhite, upper-middle-class community, we offer creative drama as a model for integrating this kind of social justice education into youth musical theatre production camps. We explore the tools that creative drama offers for supporting youth and teaching artists in exploring issues related to inclusion, diversity, equity, and accessibility; understanding our relationships with oppressive systems; and taking action to transform them. Then, we demonstrate how this can look in practice. We outline a process through which we developed two creative drama adventures and share stories of how these dramas unfolded. Finally, we surface some lingering tensions about our and our students' identities and how they inform our ongoing work. In sharing these stories and tensions, we invite you to consider how creative drama might support you and your communities. [ABSTRACT FROM AUTHOR]

Despite paying concerted attention to evolutionary mechanisms, literary scholars have rarely focused on forms of "directed evolution" like orthogenesis (evolution along a linear track) and phylogeronty—the parallel between the lifespan of an animal group and the lifespan of an aging individual—analogical concepts reflecting a paleontological manifestation of a wider interest in human decadence. This essay analyzes how these concepts are explored in three areas: popular adventure fiction, social reform novels by Marie Stopes and H. G. Wells, and writings by paleontologists. Across these texts, the essay argues that directed evolution offered a recognizable trajectory with which to render the complexity and strangeness of prehistoric and modern life alike into a familiar linear shape by reading certain extinct animals as moral exemplars of evolutionary failure. While reformers hoped that humans could escape the orthogenetic grooves confining nonhuman animals to extinction, this optimism was shadowed both with fears that humans might inevitably face decadence and with a sense that survival meant mediocrity. [ABSTRACT FROM AUTHOR]

Despite the absurdly demonstrated actions and events of Dastan narratives, there is a dialectical relationship between reality and imagination or between history and fantasy. The ongoing conflict between the enigmatic and mythical characters of Hoshruba and the historically real figures creates a compelling narrative in Dastan. This epic story depicts the adventures of Amir Hamza and his commanders across various locations of Indo-Islamic civilization. Amir Hamza and his allies wage war against the entirely fictional characters of Hoshruba, a realm filled with powerful magic and mesmerizing enchantments. As a result, the dynamic relationship between these opposing forces leads to a series of exciting actions and events. Amid the brutal battles, there is also a captivating love story between the brave heroes of Amir Hamza's camp and the alluring princesses of Hoshruba. These romances are fostered through seduction, cunning tricks, and clever traps. The research aims to examine how the interplay of imagination contributes to the Hoshruba narrative discourse and influences the course of events in the overall structure of Dastan, Hoshruba, the Land and Tilism. [ABSTRACT FROM AUTHOR]

After first establishing the generally dismal reputation of the Regular Army across Victorian classes and showing that working-class men resisted joining the Regular Army despite many attempts to lure them into the ranks, Fulton explores what these young men would have been up to, if not running out to enlist in a jingoistic frenzy. Indeed, as Fulton insists throughout the book, the British working classes "had little use for the army" and "certainly no interest in Imperial adventures" (2). Warrior Generation 1865-1885: Militarism and British Working-Class Boys, by Richard Fulton; pp. vii + 331. [Extracted from the article]

"The Rise and Fall of the Victorian Three-Volume Novel" by Troy J. Bassett is a comprehensive study that challenges existing knowledge about multivolume fiction in the Victorian era. Bassett's research database, At the Circulating Library (ATCL), provides extensive bibliographic data on Victorian fiction, including information on novels, authors, and publishers. The book analyzes publishing data on 7,272 multivolume works of fiction published between 1837 and 1898, revealing a gradual increase in the number of novels published in this format until its decline in the late 19th century. The study also explores the economic structures and publishing systems that made multivolume fiction profitable for publishers, libraries, and authors. Overall, this book offers valuable insights into the Victorian novel and its relationship to publishing structures and formats. [Extracted from the article]

Copyright of South African Journal of Cultural History is the property of South African Society for Cultural History and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The writer Petru Popescu (born 1944) entered Romanian literature in the late 1960s and almost immediately gained the interest of critics and readers. His novels were innovative not only in terms of bold themes but also of narrative strategies. This article focuses on Petru Popescu's work written in exile in English, i.e., from the late 1970s until 2009. His texts vary significantly, as Popescu tried his hand at several literary genres, from popular novels (Before and after Edith, In Hot Blood), travelogues (Amazon Beaming), adventure novels (Almost Adam), and adolescents' literature (Footprints in Time) to his memoir (The Return) and the more stylized memoir about his parents-in-law (The Oasis: A memoir of Love and Survival in a Concentration Camp). [ABSTRACT FROM AUTHOR]

Cosmopolitan cities share similarities with historical frontiers, including potential opportunities for economic success, high social mobility, weakened traditional conventions, and adventure and novel experiences. Individuals with high independence typically prefer to settle in cosmopolitan cities. However, previous research testing this cosmopolitan settlement hypothesis did not consider the influence of relational mobility and residential mobility. Moreover, the mechanisms that drive people to prefer cosmopolitan cities remain unclear. This study examines the relationships among independence, relational mobility, residential mobility, and preference for cosmopolitan cities among 296 Chinese senior undergraduates. The results indicate that: (1) independence remains a positive predictor of the preference for cosmopolitan cities above and beyond relational mobility, residential mobility (i.e., history, state, and intention), and other covariates; (2) intention of residential mobility also positively predicts preference for cosmopolitan cities when controlling for related covariates; and (3) relational mobility indirectly predicts perceived preference for cosmopolitan cities through dependence. This research underscores the importance of identifying the factors and mechanisms affecting cosmopolitan settlement. [ABSTRACT FROM AUTHOR]

Copyright of Humanidades: Revista de la Universidad de Montevideo is the property of Universidad de Montevideo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

For the first three months of 1918, Soviet Russia and Romania fought a revolutionary war, and yet the two countries were so recently allies in the struggle against the Central Powers. This article explores the question of British support for Romania from Russia as the Bolsheviks took power and efforts to bring this unnecessary – from an Allied perspective – war to an end. Part adventure story, it has a serious subtext. [ABSTRACT FROM AUTHOR]