The essential "Star Wars"Philip Pullman's baroque aesthetics

This essay has a twofold purpose: to consider the issues of contemporary Young Adult literature addressed to “the children of the videosphere” within the context of globalized culture and to assess the importance of postmodern Baroque aesthetics in the “Star Wars” system of modern Letters and mass-media. Writers often resort to such aesthetics with the prospect of commercial hegemony, but some of them find their “distinction” (in Pierre Bourdieu’s delineation) through intertextuality – be it avowed or hidden – with the great masters of the past (William Blake and John Milton). We will investigate the secret workshop of Phillip Pullman’s His Dark Materials Trilogy and some of his other works, as well as Jostein Gaarder’s Sophie’s World and diverse literary productions. With their arresting butterflies as significant baroque emblems, these works provide a new and spellbounding vision of the Western hero and offer a new “reterritorialization” of Letters. More particularly, Philip Pullman’s literary gesture has been to extract the baroque message from the vulgarised versions of popular mass media and to give it a new distinction.Key words: Postmodern baroque, William Blake, picaresque, humour, parody, Philip Pullman, Jostein Gaarder.El propósito de este artículo es doble: la investigación de las formas contemporáneas de literatura para “los niños de la videoesfera”, estos jóvenes lectores inmersos en el contexto de la globalización, y la evaluación del barroco posmoderno en el sistema “Star Wars” de los medios escritos y audiovisuales. Estos últimos utilizan esta estética en la búsqueda de una hegemonía comercial. Los nuevos escritores encuentran en ello su “distinción” (en el sentido en el que Pierre Bourdieu lo entiende), en una intertextualidad, abierta o enmascarada, con los grandes autores de siglos pasados (William Blake y John Milton). Philip Pullman en varios libros, en concreto, en su trilogía En la encrucijada de los mundos, y Jostein Gaarder en El mundo de Sofía ofrecen brillantes “mariposas”, emblemas del barroco, en una nueva visión del Sujeto occidental y una “reterritorialización de las Letras”. …Más específicamente, el gesto literario de Philippe Pullman consistió en extraer el mensaje barroco de las versiones popularizadas de los medios de comunicación y ofrecer una versión superior.Palabras clave: El barroco posmoderno, William Blake, la picaresca, humor, parodia, Philip Pullman, Jostein Gaarder.Notre article se donne un double objectif : l’examen des formes contemporaines de la littérature pour  “ les enfants de la vidéosphère ” , ces jeunes lecteurs pris dans le cadre de la mondialisation, et l’évaluation du baroque postmoderne dans le système  “ Star Wars ” des médias écrits et audiovisuels. Ces derniers exploitent cette esthétique dans la recherche d’une hégémonie commerciale. Les nouveaux écrivains y trouvent leur  “distinction”  (au sens où Pierre Bourdieu l’entend), dans une intertextualité, ouverte ou masquée, avec les grands auteurs des siècles passés (William Blake et John Milton). Philip Pullman dans divers livres en particulier, dont sa trilogie À la croisée des mondes, et Jostein Gaarder dans Le Monde de Sophie offrent ainsi de brillants “ papillons ”, emblèmes du baroque, dans une nouvelle vision du Sujet occidental et une “ reterritorialisation des Lettres ”. ... Plus précisément, le geste littéraire de Philippe Pullman a consisté à extraire le message baroque des versions vulgarisées des mass-médias et d’en offrir une version plus élevée.Mots clés: Le baroque postmoderne, William Blake, le picaresque, humour, parodie, Philip Pullman, Jostein Gaarder

The Cowl - v. 69 - n. 15 - Jan 27, 2005

The Cowl - student newspaper of Providence College. Volume 69 - Number 15 - January 27, 2005. 24 pages

Comparison between "Alice’s Adventures in Wonderland", by Lewis Carroll, and the videogame "Alice: Madness Returns"

Traballo Fin de Grao en Lingua e Literatura Inglesas. Curso 2018-2019The main topic of my final grade project will be a comparison between tha classic "Alice's Adventures in Wonderland" (1865) writting by the English writer Charles Lutwidge Dodgson, better know as Lewis Carroll, and the videogame "Alice: Madness Returns" (2011)released by Electronic Arts (EA Games). Although videogames are usually considered mere entertainment mediums, some of them, such "Alice: Madness Returns" could be considered as artistics masterpieces when analyzing them deeply. It is through this analysis of the narrative and aesthetic aspects, and the comparison of the same ones, that I would like to show how a videogame can transmit the same feelings and emotions as a good universal classic such as "Alice's Adventures in Wonderland". However Carroll's book does not only transcend the literary dimension to the one of the videogames, but also to the television and cinematographic dimension with more than 30 adaptations such as, perhaps the most known ones, the animated version by Walt Disney "Alice in Wonderland" (1951) and Tim Burton's "Alice in Wonderland" (2010) this last one also with its own videogame. Undoubtedly, there is an enourmous quantity of adpatations of Carroll's "Alice's Adventures in Wonderland" in all the different mediums we have at our disposal nowadays, from films to theatre or even music. However, although i am going to mention a few ones throughout this project, the main aim is profoundly analyzed the works first mentioned, since I find quite interesting the aesthetic power of both works. In order to achieve this, the project will problaby follow the next structure: First of all, I would like to briefly analyze both works, the book and the videogame, separately. In both analysis I will focus on their main features according to the narrative's and aesthetics' aspects using the respective methodology in consonance with literary and game studies. After a short analysis of these aspects of both works, my aim is to compare them from the perspective of intermediality, paying special attention, as mentioned before, to aesthetic

Reflections in the Author\u27s Eye: Optics, Involution, and Artifice in the Novels and Short Stories of Vladimir Nabokov

Vladimir Nabokov’s fourth novel, The Eye, is consistently characterized as his most obscure work. Despite comparatively slim critical attention, the work marked a seminal moment in Nabokov’s literary career, as it initiated his experimentation with perceptual distortions such as mirroring, mimicry, optics, and doubling all through the frame of unreliable narration. Going beyond conventionally untrustworthy narration, Nabokov presents an authorial consciousness that manipulates the narratory point of view through incredibly detailed encryptions, requiring the imaginative participation of readers in unmasking Nabokov’s second, “real” authorial plot. Although Nabokov openly dismissed the moral foregrounding associated with the doppelgänger motif, the thesis will explore the ways in which Nabokov frequently utilizes myriads of false doubles to create an imprint of artifice, which the reader must sift through in order to grasp the authorial “texture” beneath the overt text. Utilizing The Eye as well as several of Nabokov’s short stories as introductory prototypes of Lolita and Pale Fire, the thesis will explore the development of Nabokov’s increasingly intricate and deceptive ocular and aesthetic designs, which inculcate the creative participation of an audience, thereby making the perceptive reader a real and conscious double of the author

The Promethean, Volume 28, \u3cem\u3eThe Last Torch\u3c/em\u3e, 2020

In September, we did not know that this edition of The Promethean would truly be the last. Riding the wave of Blue Apocalypse, our editors sat in front of each other composing a pool of possible themes. We wanted a title that captured the loss of the College of Arts & Sciences at Concordia University – Portland. We were still present, learning, and generating beautiful work, despite mourning a gaping wound. We wanted to remind those around us—and even ourselves—that the literary heart of this university still burned with passion, talent, and perseverance. When I suggested The Last Torch to our staff, the titular myth of this journal played through my mind. Prometheus stole fire from Zeus and gifted it to mortals, seeing mankind’s weakened, vulnerable state. It was a gift, requiring sacrifice, and resulting in great reward and great punishment. I did not know that this title would become entirely ironic. As we continue to experience disruption and uncertainty moving forward, I counsel us all to remember this: fire may devastate and destroy, but it can also be used to light the way. May we use our talents to similarly break down social barriers and uplift, leading this fractious community out of darkness and towards a better future. On behalf of Dr. Kimberly Knutsen, my Assistant Managing Editor J.C.G., our team of student editors, and all of our valued contributors, I am blessed to present to you the 2019-2020 issue of The Promethean: The Last Torch.https://digitalcommons.csp.edu/cup_archives_promethean/1043/thumbnail.jp

Maps for the lost: A collection of short fiction And Human / nature ecotones: Climate change and the ecological imagination: A critical essay

The thesis comprises a collection of short fiction, Maps for the Lost, and a critical essay, “Human / Nature Ecotones: Climate Change and the Ecological Imagination.” In ecological terms, areas of interaction between adjacent ecosystems are known as ecotones. Sites of relationship between biotic communities, they are charged with fertility and evolutionary possibility. While postcolonial scholarship is concerned with borders as points of cross-cultural contact, ecocritical thought focuses upon the ecotone that occurs at the interface between human and non-human nature. In their occupation of the liminal zones between human and natural realms, the characters and narratives of Maps for the Lost reveal and nurture the porosity of conventional demarcations. In the title story, a Czech artist maps the globe by night in order to find his lover. The buried geographies of human landscapes coalesce with those of the non-human realm: the territories of wolves and the scent-trails of a fox mingle imperceptibly with nocturnal Prague and the ransacked villages of post-war Croatia. In “Seeds,” a narrative structured around the process of biological growth, the lost memories of an elderly woman are returned to her by her garden. “The Skin of the Ocean” traces the obsession of a diver who sinks his yacht under the weight of coral and fish, while in “Drift,” an Iranian refugee writes letters along the tide-line of a Tasmanian beach. The essay identifies the inadequacy of literature and literary scholarship’s response to the threat of climate change as a failure of the imagination, reflecting the transgressive dimension of the crisis itself, and the dualistic legacy which still informs Western discourse on non-human nature. In order to redress this shortfall, which I argue the current generations of writers have an urgent moral responsibility to do, it is critical that we learn to understand the natural world of which we are a part, in ways that cast off the limitations of conventional representation. Paradoxically, it is the profoundly disruptive (apocalyptic?) nature of the climate crisis itself, which may create the imaginative traction for that shift in comprehension, forcing us, through loss, to interpret the world in ways that have been forgotten, or are fundamentally new. By analysing Alexis Wright’s The Swan Book, and Les Murray’s “Presence” sequence, the essay explores the correlation between imaginative and ecological processes, and the role of voice, embodiment, patterning and story in negotiations of nature and place. In the context of the asymptotical essence of the relation between text and world, and the paradox of phenomenological representation, it calls for a deeper cultural engagement with scientific discourse and indigenous philosophy, in order to illuminate the multiplicity and complexity of human connections to the non-human natural worl

Official Souvenir Program of the Sixth Annual Saco Valley Music Festival

A 32 page program with illustrations and information about the conductor (Llewellyn B. Cain) and performers at the Saco Valley Music Festival in 1918

South Carolina Wildlife, May-June 1993

The South Carolina Wildlife Magazines are published by the South Carolina Department of Natural Resources who are dedicated to educating citizens on the value, conservation, protection, and restoration of South Carolina's wildlife and natural resources. These magazines showcase the state’s natural resources and outdoor recreation opportunities by including articles and images of conservation, reflections and tales, field notes, recipes, and more. In this issue: Biosphere ; Books ; Events ; Natural History: Butterflies ; Readers' Forum ; And The Winners Are... ; Lords Of The Swamp ; Bringing Butterflies Home ; Food For Thought ; Earth-Keeping Goes High-Tech ; Art Of The Long Rod ; The AIR Team ; Field Trip: Woods Bay State Park ; Roundtable