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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]

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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]

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 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 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]

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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]

This paper discusses the recent growing presence of the everyday in comics from different traditions, works where ordinary situations and apparently insignificant events take the place of extraordinary worlds and adventure stories. Drawing predominantly from the French perspective of Everyday Studies (Lefebvre, Blanchot, Perec, De Certeau), the ambiguous dynamics of the everyday will be here studied in relation to the contrasting concepts of boredom and strangeness. This paper addresses not only comics that bring these two attitudes as a theme, but also those which manage to awaken emotional responses in the reader, specifically ennui and contemplation. The aim here is to identify different strategies proper to the language of comics capable of arousing everyday moods in the reading experience, particularly in those cases where the temporal dimension is manipulated, reinforcing a sense of slowness. [ABSTRACT FROM AUTHOR]

In this paper we analyze the characteristics of the adventure novel of ordeal, which Bakhtin identifies as one of the three essential types of novelistic unity. The exegesis of such chronotope reveals a pattern not unlike that which articulates a popular sub-genre of science fiction: space opera. Our conclusion is that both chronotopes are virtually identical except for a very relevant aspect, temporal reversibility, absent in space opera, because of a lesser protagonism of the event. This is the result of a heroic axiology that is more typical of the epic than of the novel, an aspect that is also analyzed in the paper. [ABSTRACT FROM AUTHOR]

In this paper, I intend to present the way in which the Biblical stories and medieval legends are re-written in the episode of the Miraculous Ship in La Queste del Saint Graal, and to identify several characteristics of this vessel, considered ideal for the questers' preparation for the ecstatic life in the presence of the Grail. The multi-layered symbolism of this miraculous self-moving ship is constantly enriched with new connotations, and from being a sacred place that offers the successful knights the opportunity to meditate on their spiritual life before reaching Sarras and the Holy Grail, it may also be regarded as a connector between the Old-Testament legends, Christian traditions and Arthurian lore. In addition, the focus of the story shifts from Arthurian adventures to the creation of a story of origin and Galahad is presented not only as the quintessential Arthurian knight, but also the rightful heir of mythical ancestors. More importantly, analysing the way in which some medieval texts are recycled in this fragment, the reader is astonished to find a very progressive re-writing of the well-known literary tradition, as it reveals a very appreciative portrayal of women's agency and a tolerant attitude towards Jews (represented by Solomon). Both these aspects differ not only from the biblical perspective or dogmatic theories, but also from other 13th-century legends. Moreover, this inclusive approach to non-Christians is unique in the economy of La Queste. [ABSTRACT FROM AUTHOR]

The depiction of science in theatre has been widely acknowledged and debated, while discussion of science fiction in theatre remains limited. Specifically, plays which draw upon the practices of both sciences fact and fiction are typically viewed as examples of the former, with the latter's influence elided. Nick Payne's Elegy interrogates the evolution of medical treatment into the prevention of neurological diseases, depicting a future society where such disorders can be surgically cured. The play creatively expands upon modern scientific knowledge to imagine this future world, using a science-fictional lens to engage with current ethical stances regarding life, death and the line between both. However, critical reaction to the play focused predominantly on Elegy's apparently factual foundations, as opposed to its combination of imagined and scientific aspects. This paper aims to encourage a more nuanced view of science fiction, and its relationship to science, in theatre. By placing Elegy in conversation with science fiction scholarship, and by drawing comparisons with specific areas of current scientific research in which charges of science-fictionality have encouraged engagement and funding opportunities, I propose a template for how theatre-makers and scholars can recognise the role that science fiction plays within contemporary performance. [ABSTRACT FROM AUTHOR]

The main interest of this research paper is the exploration of the use of Black English in literature, selecting the American novel: The Adventures of Huckleberry Finn, henceforth (AHF),(1884)by Mark Twain(1853-1910) as a field of investigation. This novel is chosen since it is a fertile scope ofthe study, abundantwith various cultural elements used by characters. The focus is set on a selection of literary, linguistic, and sociolinguistic approaches. The data gathered from the novel have been analyzed and interpreted to provide and reflect a vivid image of the novel's fictional characters with a purpose to increase dialect awareness among readers of literary dialect. The study of the implementation of vernacular elements in American literature does not only extract the enjoyable side about the character's social background but also offers a unique glamour and beauty to American literary works. [ABSTRACT FROM AUTHOR]

Twenty Thousand Leagues under the Sea begins with a phenomenon which leaves the seaports and people living in coastal regions of America and Europe stunned. This paper explores people living near seaports, traders, mariners encounter "an enormous thing" in the sea, which gives off a phosphorescent glow. [ABSTRACT FROM AUTHOR]

Copyright of Dacoromania Litteraria is the property of ACADEMIA ROMANA Filiala Cluj-Napoca Institutul de Lingvistica si Istorie Literara "Sextil Puscariu" 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.)

Apocalypse as a literary genre, as well as a political and religious agenda, has been criticized by writers such as Lee Quinby and Katherine Keller for its formula, which tends toward punishment for transgression and salvation of an elect. These same writers critique postapocalypse for its propensity for nihilism and portrayal of a human species ‘beyond redemption’. But perhaps it is precisely this refusal to redeem that endows postapocalypse with dangerous possibilities. The postapocalypse does not have to be considered (and subsequently neutralized) via the same moral underpinnings that structure apocalypse. This paper frames postapocalypse not as a literature of pessimism or warning but as a radical context to explore dangerous possibilities without rehearsing apocalypse’s characteristic damnation, salvation and enforcement of a horizon of revelation that simultaneously works to obliterate aberrant possibilities. In order to explore these claims, the process of thinking beyond revelation in apocalypse is defined here as ‘the postapocalyptic imagination’. Its expressions are found in postapocalyptic texts, but also in other kinds of texts that respond to, and in some cases resist, the teleological drive of late capitalist narratives of endless progress. The postapocalyptic world is host to mutations, amalgamations and strange appropriations of forms and ideas left in the wreckage beyond the end. It is the task of the postapocalyptic imagination to explore what possibilities these ‘abominations’ might offer. This paper considers the motifs, characters and settings of postapocalyptic texts, alongside some of the anxieties and critiques they express. [ABSTRACT FROM AUTHOR]

Critical thought on immersive theatres is gathering in pace with many arguments centred on explorations of audience/performer interaction and the unique relationship these theatres create. Within this paper I look beyond these debates in order to consider the implications of immersive theatres within contemporary culture, with the aim of furthering the ways in which immersive theatres are presently being framed and discussed. Theatre and science fiction have shared a somewhat limited relationship compared to their burgeoning usage within other forms of entertainment. This paper focuses on how the conceits of science fiction are being staged within this theatrical setting. Primary focus is given to Punchdrunk’s… and darkness descended (2011) and The Crash of the Elysium (2011–2012). This is considered alongside The Republic of the Imagination’s (TROTI) Cerebellium (2012–14), an original narrative created for the performance which has been subsequently developed over a three-year period to date. This discussion is presented and framed through my personal experience as both a performer in Cerebellium and (later) as audience member. The particular use of dystopian narratives and alternate worlds is given consideration, with reflection on the way these works destabilize and call into question the audience’s sense of self either through their ability to survive or understand their sense of self. By making evident the spectrum of practice, I endeavour to delve further into identifying and de-mystifying immersive theatres and their differences to conventional theatre. [ABSTRACT FROM AUTHOR]

For the past several decades, the phenomenon of depression largely has been defined, classified, and thus assessed and analyzed, according to criteria based on the Diagnostic and Statistical Manual (now DSM5). A substantial body of knowledge on epidemiology, course, risk factors, correlates, consequences, assessment, and intervention for youth depression is based on this classical nosological approach to conceptualizing depression. Yet, recent structural and classification approaches, such as latent dimensional bifactor models (e.g., P factor model; Caspi et al., 2014) and hierarchical organizations (e.g., HiTOP; Kotov, Waszczuk, Krueger, Forbes, & Watson, 2017), have been proposed and supported as alternative options to characterize features of depression. This paper considers conceptualizations of depression among youth with a particular focus on validity: how important clinical outcomes and risks (genetic, neural, temperament, early pubertal timing, stress, and cognitive) relate to depression when ascertained via traditional DSM-defined depression versus more recent latent dimensional model approaches. The construct validity of depression, in terms of associations within respective nomological networks, varies by depression conceptualization. Clinical scientists and applied practitioners need to clearly think through the nature of what depression is and how the latent construct is conceptualized and measured. Conclusions reached for research, teaching, and evidence-based clinical work are affected and may not be the same across different conceptual and nosological organizational schemes. • This paper considers classification of depression in youth and how validity of risk to depression depends on conceptualization of depression in a nomological network. [ABSTRACT FROM AUTHOR]

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This paper reflects on the teaching of science fiction texts to first-year engineering students at the University of the Witwatersrand as part of a Critical Thinking course that uses literature as a vehicle through which to develop competence in critical literacy and communication. This course aims to equip engineering students, as future intermediaries between science and society, with the ability to fulfil this role in both the contemporary global world and South Africa more specifically through the imaginative inhabitation of divergent subject positions afforded by literary texts. Science fiction encourages students to engage imaginatively with various societal ideas, constructs and possibilities. One of the principles of the course is that reading facilitates empathic responses, challenging readers to inhabit unfamiliar subject positions. In this way, the teaching of science fiction aims to develop self-reflective and critical learning practices, wherein engineering students grapple with the ethical ramifications of extrapolated known science in a South African context. [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]

This paper describes a corpus methodology developed in the course of investigations of three small subcorpora of texts: fiction by Conrad, nineteenth-century accounts of exploration, and adventure fiction. Stemming from observations that both high and lower frequency words in text are of interest in relation to meaning and structure, a ‘stratified approach’ integrates different levels of frequency by grouping words in a text into a series of frequency bands, identified from a reference corpus, then examining the most recurrent words within each band. This approach shows up, in particular, the ways in which topic and theme are lexicalized, and connotative lexis is associated with lower frequencies. In addition to exemplifying the approach and demonstrating its applications, the paper argues that any set of words, identified as significant through frequency, still involves selection, and that information which is derived quantitatively should not be interpreted as if wholly objective. [ABSTRACT FROM AUTHOR]

The paper explores and initiates the examination and discussion of the cultural and promotional power of weblogs and blogging. Travel blogging is a form of digital story-telling. In the past tourism was considered a luxury of a few select people. Travel narratives were published and publicised in the form of brochures, monologues, newspaper accounts, novellas, novels, sketches and paintings. As the world evolved and travel became available to greater groups in society, these written staples captivated and inspired generations. The later part of the 20th century has ear marked the coming of age of Internet technology and traditional forms of tourist communication are being transformed into a more modern electronic version. The Internet has fostered a recent resurgence in journaling of travel adventures and self publication. Blogs are a visual and written descriptive of the day to day excursion of a tourist society. The purpose of this paper is to examine this form of narrative in a modern age and initiate arguments of the discussion within three initial paradigms: (1) tourism as a language, (2) tourism as a place of experiences in space and time and (3) the authenticity of tourism. [ABSTRACT FROM AUTHOR]

African Americans who have spent formative years in the United States have a viewpoint grounded in a specific culture. This paper defines "African American mystery" as crime or detective fiction written by African Americans. African American mystery novels have grown in number and diversity over time. As the audience has grown, publishers and reviewers have given more attention to the genre. While the stories are not necessarily about race, they are richly imbued with African American culture and themes. An overview of review sources, an annotated bibliography of four essential back- ground sources, a classified list of African American mystery novels, and a list of award-winning African American mysteries are included. [ABSTRACT FROM AUTHOR]

'Mobilis in mobili,' the motto of Nemo, captain of the submarine Nautilus, denotes the utopic concept represented by Jules Verne's water crafts - motion in motion, calm dynamics in a save, egg-shaped vessel equipped with all conveniences. As a bestselling author, Jules Verne established a floating scriptorium on his private yacht. Similarly, he furnished his imaginary vessels with studies and map rooms, libraries as well as new electronic storage and communication media. But in the same vein the autarchy of these vessels causes refusal of communication and isolation of their possessors and passengers. The reason for this is also a poetological one, since the ubiquity of media and their aim of unimpeded communication collide with the requirements of the adventure novel. Its momentum results from interferences and communication failures, and often culminates in natural disasters and explosions that destroy the vessels. In the alternation of control and disturbance, Verne's novels display the materiality of media, and at the same time they claim, rather ungently, the dominance of writing over all other media by having the last say. Since the competition between various forms of literature, especially the adventure novel, and contemporary non-literary technological media, as seen in Jules Verne's novels, has not yet been addressed sufficiently in literary studies, this paper opens new perspectives not only on the important role media takes in Verne's works, but also on how popular literature reacts to the increasing importance of new media in communication and in public life. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Earth Sciences is the property of Canadian Science Publishing 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.)

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]

While there has been much critical interest in the relationship between visual and verbal forms in the Victorian period, there has been no real attempt to develop ways of exploring and interpreting the relationship between maps and texts. This paper begins to address such a lack by theorizing the dynamic between map and text for the map in adventure fiction. Two iconic maps (those for Treasure Island and King Solomon's Mines) are analyzed in an interdisciplinary way by drawing upon the discipline of cartography, particularly critical cartography. Three cartographic concepts are explored in relation to the literary examples: the accuracy of the map; the concept of cartographic silence, and the authenticity of the map. [ABSTRACT FROM AUTHOR]

The article focuses on collecting popular adventure fiction published between the late 19th century and 1933. The author discusses the quality of book publishing during this time period, examines how adventure stories reinforce imperialistic ideas, and examines several books by authors such as H. Rider Haggard, Rudyard Kipling, and James Hilton.