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118
نتائج ل
"Paranoia Fiction."
صنف حسب:
Seeing Things: Gothic and the Madness of Interpretation
This chapter contains sections titled:
Reading Madness
A Mad Trist: “The Fall of the House of Usher”
Consuming Madness: Dracula
The Pursuit of Knowledge: M. R. James, “A Warning to the Curious”
References
Book Chapter
In black and white : a novel
\"Black and White is a full translation of Tanizaki Jun'ichirō's 1928 novel, Kokubyaku, with an introduction that identifies the special conditions that might have made it a 'lost' novel. This novel offers a window into Tanizaki's life and work at a critical transition point in his career. The introduction focuses on the moment Tanizaki astounded the literary world in 1928 by writing three novels in the same year, after several years of relative silence following the 1923 Great Kantō Earthquake. Two of the three (Some Prefer Nettles and Quicksand) immediately became famous; this third disappeared from view. The novel tells the story of a writer who in essence kills another writer with his writing. In it, an obsessive paranoid fantasy turns out to invade 'real life,' and it ends with a man confessing to a murder he did not commit. Over the course of the story, he (the character? the author?) invents a character he calls the 'Shadow Man,' who is out to entrap the writer (the protagonist? the author?) and destroy him. The tone of the story is comic rather than tragic, sardonic rather than dramatic. There is a peculiar ambiguity between author and character that distinguishes the story from the usual 'I-novel' genre of the day; the novel is autobiographical in an unusual way, although Tanizaki was never considered an autobiographical writer. The central questions the introduction addresses are: What is autobiographical in the novel; who was killed and why; and how did that elimination help make Tanizaki a great writer?\"-- Provided by publisher
BOOK
COMPLOT Y PARANOIA EN LA MAESTRA RURAL Y DISTANCIA DE RESCATE
Abordamos aquí dos novelas argentinas contemporáneas que cruzan estrategias narrativas paranoicas con figuraciones del complot. La maestra rural (2016), de Luciano Lamberti, narra una conspiración extraterrestre que atraviesa varios regímenes políticos, a partir de una red de voces alucinadas. Distancia de rescate (2015), escrita por Samanta Schweblin, asume la forma de un interrogatorio guiado por un personaje transmigrado que evidencia la amenaza del modelo económico agroexportador. Estas ficciones reestructuran la temporalidad histórica y desnudan las alianzas secretas entre las clases dominantes y el Estado. Nuestra perspectiva hermenéutica sigue la propuesta de Fredric Jameson para interpretar los significados histórico-políticos a partir de dos ideologemas. El complot y la paranoia son estos dispositivos mediadores que nos permiten articular el cruce entre elementos del fantasy, el policial, la ciencia ficción y el terror en el corpus, e integrar estos sentidos a una reescritura de la totalidad fracturada de lo social.
This article explores paranoid narrative strategies and figurations of the conspiracy in two contemporary Argentine novels. La maestra rural (2017), by Luciano Lamberti, narrates a conspiracy with aliens through various historical periods, a network of hallucinated voices builds this fiction. Distancia de rescate (2015), written by Samanta Schweblin, is a story outlined as an interrogation where a transmigrated character–that shows the consequences of the agro-export business–guides the plot. These fictions restructure historical temporality and show alliances between the ruling classes and the State. Our hermeneutical perspective follows Fredric Jameson’s proposal to read the historical-political meanings throughout two ideologemes. In this case, conspiracy and paranoia are the devices that allow us to articulate the intersection between fantasy, police genre, science fiction, and horror, and to integrate these meanings into a rewriting of the fractured social totality.
Journal Article
Benevolent Conspiracy: Biopolitics and Paranoia in Shane Carruth's Upstream Color
Celebrated by critics for its elliptical, fragmentary aesthetics, Shane Carruth's Upstream Color deploys elements of the paranoid science fiction thriller, albeit without the requisite affective register of panic and anxiety. The fictional biotechnological process at the core of its narrative evolves into a complex web of visual and thematic associations in which paranoid anxiety gradually dissipates. While this appears at first glance as a critical deconstruction of conspiracy theories--all the more relevant at a time when American politics engages more than ever in what Richard Hofstadter has called a \"paranoid style\"--the film actually steers clear of conventional gestures of opposing or debunking paranoia. Instead, it expands the representational range in which paranoia can be rendered and experienced. Proposing what amounts of a version of conspiracy that is no longer nefarious in methods and intents, but potentially beneficial in its outcomes, Upstream Color assumes particular relevance in regard to the biological metaphors it selects to make its point--an exploration of biopolitics which, viewed in hindsight of the COVID-19 pandemic, accounts both for the productive management of biotechnological anxieties and the conspiracy theories in which these anxieties manifest themselves.
Journal Article
Mistress
\"Ben isn't like most people. Unable to control his racing thoughts, he's a man consumed by his obsessions: movies, motorcycles, presidential trivia-and Diana Hotchkiss, a beautiful woman Ben knows he can never have. When Diana is found dead outside her apartment, Ben's infatuation drives him on a hunt to find out what happened to the love of his life. Ben soon discovers that the woman he pined for was hiding a shocking double life. And now someone is out to stop Ben from uncovering the truth about Diana's illicit affairs\"--from publiser's web site.
Book
Femicidios, paranoia e impunidad: las marcas del neopolicial en Chicas muertas (2014) de Selva Almada
Chicas muertas (2014) tracta sobre la investigació de tres assassinats de dones que van tenir lloc als anys vuitanta a Argentina i que, en el seu moment, van quedar impunes. La veu narrativa reconstrueix aquestes històries individuals i visibilitza com aquestes morts van ser un problema de matriu col·lectiu, quan encara la caràtula de femicidi no existia ni per la Llei argentina ni pels mitjans de comunicació. Aquesta obra està catalogada com a no-ficció; no obstant, conté tots els elements necessaris per ser llegida des de la òptica del neopolicial contemporani ja que, tal i com anticipa el seu títol, tot en ella té a veure amb violència, dones víctimes i una narradora — investigadora— a la recerca de respostes i de la justícia que l’Estat no ha sabut proveir. A la vegada, és un relat travessat per marques de suspens i tensió constant que l’apropen a l’estètica del policial.
Dead Girls (2014) deals with the investigation of the murders of three women that occurred in the 1980s in Argentina and which, at the time, went unpunished. The narrative voice recreates these individual stories and shows how these deaths were the sign of the existence of a social problem, at a time when the term \"femicide\" did not yet exist neither for the Argentine law nor for the media. This book is classified as non-fiction. However, it has all the necessary elements to be read from the perspective of contemporary Latin-American crime fiction, as everything relates to violence, female victims, and a narrator —detective— in search of answers and justice. At the same time, it is a story marked by suspense and tension that bring it closer to crime fiction.
Chicas muertas (2014) trata sobre la investigación de tres asesinatos de mujeres ocurridos en los años ochenta en Argentina y que, en su momento, quedaron impunes. La voz narrativa reconstruye estas historias individuales y visibiliza cómo estas muertes fueron un problema de matriz colectivo, cuando todavía la carátula de “femicidio” no existía ni para la ley argentina ni para los medios de comunicación. Esta obra es catalogada como no-ficción; sin embargo, posee todos los elementos necesarios para ser leída desde la óptica del neopolicial contemporáneo, ya que, como su título anticipa, todo tiene que ver con violencia, mujeres víctimas y una narradora—investigadora— en busca de respuestas y de justicia que el Estado no ha sabido proporcionar. A la vez, es un relato atravesado por marcas de suspenso y tensión constante que lo acercan a la estética del policial.
Journal Article
Sealed
\"Heavily pregnant Alice and her partner Pete are done with the city is haunted by rumors of a skin-sealing epidemic starting to infect the urban population. She hopes their new remote mountain house will offer safety, a place to forget the nightmares and start their family. But the mountains and their people hold a different kind of danger. With their relationship under intolerable pressure, violence erupts and Alice is faced with the unthinkable as she fights to protect her unborn child\"-- Provided by publisher.
Book
Comparación de los sentimientos en The Puppet Masters y las emociones en Twitter durante la pandemia COVID-19: un análisis cuantitativo del miedo al contagio
A lo largo de la pandemia ocasionada por la Covid-19 se han llevado a cabo distintos estudios sobre la respuesta emocional a nivel social, frecuentemente empleando como base del análisis los mensajes en redes sociales. En este trabajo, y empleando técnicas computacionales de text mining, se compara el patrón detectado en la investigación de Dubey (2020) con el que aparece en una de las obras icónicas en literatura de ciencia ficción: The Puppet Masters (1951), de Robert A. Heinlein. Esta novela describe la historia de una invasión por parte de parásitos alienígenas, y el hilo narrativo se articula en torno al miedo al contagio y la paranoia imperante por quienes estarán o no infectados, pudiendo infectar a otros. Es decir, describe un escenario que, en lo esencial, es muy similar a la actual situación. Los resultados demuestran que existe una enorme similitud entre ambos patrones emocionales. El hecho de que una novela de hace casi 70 años exhiba un patrón emocional extraordinariamente similar al que hemos observado en la sociedad durante la pandemia, pone de manifiesto no solo la capacidad de Heinlein para dotar de verosimilitud a sus obras, sino que, una vez más, la vida parece imitar al arte.
Journal Article