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174
result(s) for
"Carnivals Fiction."
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Tiltawhirl John
A fifteen-year-old runaway discovers that a carnival's razzle-dazzle doesn't shield it from the cruelties of life.
Book
The Absence of Father/Mother and Postmemory in Rawi Hage’s Carnival (2012)
This article aims to explore the consequences of parents’ absence in transmitting the memory of homeland in Rawi Hage’s Carnival (2012). This narrative demonstrates how storytelling could reflect on the protagonist’s memory of home and origins as an Easterner. Besides, it analyzes the significance of using the transmission of memory and how it could shape the second generation’s identity. In such a diasporic literary work, the protagonist, Fly, attempts to construct their own identity even in the absence of their parents; however, traumatic memories about childhood cause a deep disparity in the mind. Hage’s Carnival identifies the circus life where the protagonist was born and raised as an old memory. Further, it identifies the flying carpet, inherited from the protagonist’s father, as a path to an imaginary space. The latter represents an escape from a miserable life. In this respect, the memory transmission of Fly is studied based on Hirsch’s conception of postmemory and Erikson's theory of psychosocial development and identity formation.
Journal Article
Carnivalesque
\"Andy walks into Burleigh's Amazing Hall of Mirrors, and then he walks right into the mirror, [becoming] a reflection. Another boy, a boy who is not Andy, goes home with Andy's parents. And the boy who was once Andy is pulled--literally pulled, by the hands, by a girl named Mona--into another world, a carnival world where anything might happen\"--Amazon.com.
Book
Lyla in the loop. Season 1, Episode 5, Carnival for Luke ; Rap report
Lyla, Everett and her sisters build makeshift carnival games for their brother Luke using household and recycled materials. / Louisa seeks help from Lyla, Luke and Stu to create a special beat for her school presentation on Mae Jemison.
Streaming Video
The carnivorous carnival
On the run as suspected murderers, the unlucky Baudelaire orphans find themselves trapped in the Caligari Carnival, where they must masquerade as freaks in order to hide from the evil Count Olaf.
Book
The Urban Zemiology of Carnival Row: Allegory, Racism and Revanchism
This article makes the case for the zemiological value of Fredric Jameson’s (2019) model of fourfold allegory. Zemiological value is the value in reducing harm and it is realized by means of etiology, i.e., explaining the causes of harm. I make the case using a single, detailed example, but the argument is generalizable by virtue of the relationship between fourfold allegory and contemporary social life. I begin by delineating Jameson’s model of allegory as a thick narrative with four distinct levels of meaning: literal, symbolic, existential and anthropic. I explain each of these levels with reference to Carnival Row (2019)—an urban fantasy television series that explores racism, alienation and decivilization. I conclude by demonstrating how the allegory reveals a particular combination of causes that contribute to the replacement of a cosmopolitan ideal with a revanchist reality, articulated by Gareth Millington (2011) in his theory of the racialized global metropolis.
Journal Article
The magic misfits
\"Six young magicians and illusionists team up to save their small town from a crooked carnival owner and his goons\"-- Provided by publisher.
Book
Fortellerstrategier og leserhenvendelser i nordisk barnekrim: LasseMaja og Detektivbyrå nr. 2
Title: Narrative Strategies and Reader Address in Nordic Children's Crime Fiction: LasseMaja and Detektivbyrå nr. 2 This article draws on Gerard Genette’s concept of paratext, Mikhail Bakhtin’s discourse on carnival, Ingeborg Mjør’s work on the truth value of iconotexts and Tzvetan Todorov’s typology of detective fiction to analyze the narrative form, character gallery, visual style and paratextual communication of two popular Scandinavian crime fiction series for young readers: Martin Widmark and Helena Willis’ Swedish LasseMaja series and Jørn Lier Horst and Jørgen Sandnes’ Norwegian series about Detektivbyrå nr. 2. The article argues that although both series follow the classical form of the “whodunit”, their address to the child reader markedly differs. While Widmark and Willis’ series establishes a carnevalesque subversion of the child-adult power hierarchy, Horst and Sandnes’ series draws on the rhetoric of non-fiction to establish a more didactic and educational frame of reading that works to maintain adults as powerful due to their “real world” knowledge and know-how.
Journal Article
Maisy's fairground
\"Join Maisy and friends for lots of noise, rides, and fun! Includes interactive pull tabs and an exciting pop-up scene!\"--P. [4] of cover.
Book
\Ammirami, e fa altrimenti\: Reframing the Historical Narrative in Enzo Striano's \Il resto di niente\
Against the dogmatic power of the written word, and the precepts of Universal History, Enzo Striano's II resto di niente engages in a reading of the Partenopean Republic (1799) through a destabilizing variety of languages and ideological perspectives, filtered through the changing points of view and experiences of the novel's protagonist, Lenòr Fonseca Pimentel. Lenòr's words operate in a mode of ideological fluidity, and exist in a state of becoming. As a result, Il resto di niente reframes the discourse of historical fiction and the role of the intellectual in society in dialogic and non-dogmatic terms, and opens up multiple and more inclusive ways to write historical fiction beyond the emplotted boundaries of patriarchal history.
Journal Article