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The modern conception of multiverse, as a theory about the cosmos, consisting of many parallel worlds existing simultaneously with ours, has become the subject of research both in science and science fiction. The fantastic world, on the one hand, is genre-driven, on the other hand, the fantastic world can be of individual character (that of the author). Despite the fact that the fantastic world is a certain type of space and its image, it is not limited just to spatial characteristics. Since the triad “the type of the world picture, the type of the plot and the type of a character” are interdependent, the concept “fantastic world” encompasses the entire work, reflecting its integrity. Consequently, we can conclude that it is logical to study the English-speaking fantasy world within the framework of historical works, because the first story (a legend) served as a launching pad for creating the images of the fantastic world in literature, in general. The historicity of the fantastic multi-world manifests itself in the fact that in science fiction the “child-like” and the “ancient” merge, reflecting the historical and psychological origins of a fantasy: the imagists, while creating imaginary extraterrestrial brethren in mind or the terrible carriers of extraterrestrial inorganic life, in essence, represent the most ancient stages passed by mankind. Time flows and the variability of fantasy types grows, which is predetermined by the differentiation of cultural traditions. Considering different types of literary fantasy worlds, one can conclude that their distinctive feature is the presence of a folklore fairy-tale component in the plot. Literary fantasy worlds are various modifications and transformations of the fantastic world exhibited in a fairy– tale. The connection between the English-speaking fantasy world of a literary fairy-tale and the folklore legend wants no grounding. Science fiction, paradoxically, imitates the structure, character and functions of the fantastic world of a folklore fairy-tale. Now the folklore fairy-tale world tends to be relevant in the literary fairy-tale and science fiction despite the fact that literature as a whole has already gone from the original forms of folk fantasy: modern forms of “tradition” are unlike folklore because in its plot science fiction explores parallel, multiple worlds, their interaction or co-existence. Fantastic ideas related to the multi-world and parallel worlds can be divided into two categories: 1) ideas of “what would happen if ...”-type; 2) sci-f ideas about the structure and laws of the multiverse on how different branches of the multi-worlds interact. The English-speaking fantastic image can be characterized through the “category of the impossible” acting at four levels: 1) the impossible on the whole; 2) the impossible in reality; 3) the impossible from the technical standpoint; 4) the impractical from the practical standpoint. In literary criticism, the issue on the genre correlation of science fiction and “fantasy” is rather topical. Sometimes “fantasy” is regarded as a kind of science fiction, and sometimes they are in literary opposition. English-speaking fantasy has its own characteristics in comparison with science fiction, which manifest themselves in the genre specificity (classical fantasy, folklore fantasy, author’s fantasy, etc.). However, the interpenetration of fantasy and science fiction can be attested in the following genres: techno-fantasy, cyberpunk, alternative history, humorous fantasy, etc. Techno-fantasy and cyberpunk are in close interaction with science fiction at the level of technical realities use.However, the link of techno-fantasy to science fiction will be wrong, because the fantasy has its own specific features due to the uniqueness of imagery and the fantastic properties of space and time that transform the Magic Country into virtual reality. Alternative history is characterized by relatively scientific features and is slightly different from historical literature due to the arbitrary change in the chronology of the narrative. As a result, the reader turns out in a “different” reality, living according to the laws of the “former”in existence. The genre variety of computer games novelization can be easily traced in shooters, quests, etc. The notion of “another dimension” has become synonymous with the notion of “parallel world”. The variants of the idea of hyperspace used in science fiction are the varieties of the idea of a parallel world. Used in many sci-f universes, the term “hyperspace” refers to a parallel universe that is used as a means of moving at a speed greater than the speed of light for interstellar travel. The rationale for the existence of this form of hyperspace varies from work to work, but there are two common elements: 1) the objects on the world map of hyperspace correspond to the objects of our universe, providing points of “entry” and “exit” for travelers; 2) the travel time between two points in hyperspace is less than the time for moving between similar objects in our universe. The emergence of parallel worlds is the result of the actions of travelers in time: the character who has moved by the time machine to the past, affects the event, changing its outcomes which results in a new universe emergence. The fate of the traveler can be different: in some cases, it is assumed that he will be in his own time, in other cases – the traveler will return to the future of the new, self-created world. Since in fantasy works, as a rule, worlds differing from the real ones are depicted, linguistic works devoted to the language of fiction focus on unusual nominations – the common names of fictional realities or fantastic personal names and geographical names. The questions concerning other narrative art genres which are under study by literary scholars include the linguistic ways of organizing the plot, while the means of expressive evaluation (and other linguistic means) are of much less interest to researchers. Nevertheless, in the works of the fantastic genre, the derivation potential of the language, a large number of occasional vocabulary contribute to the creation of the fantastic world imagery.
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Though often relegated to ancillary scholarly inquiry and overshadowed by the popularity of the novel typically at the centre of academic consideration and appreciation, short prose has captured the attention of contemporary critics who have rehabilitated it as a living form of literature and a valid subject for academic debate. Making his literary debut with two collections of short stories largely regarded as ‘shock lit,’ Ian McEwan has staged repeated comebacks to short prose throughout his career, a form that he has remodelled and refined in different manners and contexts. Centring on the writer’s early short stories as well as his more ‘mature’ novellas and his integration of the short story form into his lengthier works, my article discusses McEwan’s career-long interest in the short form and the ways in which he handles the genre, evolving from his initial shocking tales devoid of all morality to more ethically infused and self-reflexive renditions of short fiction.
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This essay discusses feminist readings of the concept of silence; then it analyzes women’s silence in three Asian-(American) works. ‘Silence’ is discussed from different perspectives such as the context, which obliges women to silence themselves willingly, or situations where women are silenced, forcefully, by external factors, and it investigates how women seek to voice their oppression. The analysis will virtually open a new horizon as the essay shows whether attempts at vocalization are possibly rewarded, or punished. Not only does this essay cover works by males as well as females, but it also covers a number of genres such as the novella, the short story, and the novel. This essay discusses Junzo Shono’s The Dance (trans., 1992), a Japanese short story, Julie Shigekuni’s A Bridge Between Us (1995), a JapaneseAmerican novel, and Su Tong’s Raise The Red Lantern (trans., 1993), a Chinese novella.
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Jorgos Panagi rođen je 1987. godine u Limasolu, na Kipru. Studirao je klasičnu filologiju na Aristotelovom univerzitetu u Solunu. Živi i radi u Berlinu. Za svoju jedinu zbirku priča Mitovi dobio je Državnu nagradu Kipra za najboljeg mladog autora 2014. godine.
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Literary texts are directly related to ‘creative thinking’. Literary texts such as novels, stories, fairy tales and poems are, above all, the creations of the artists and are based on creativity in terms of features such as fiction, structure, content, language and expression. In this respect, children's literature is a gateway to ‘creative thinking’ for children. In this study, the relationship between children's literature and ‘creative thinking’ will be examined. The relationship between creative thinking and features (fiction, structure, content, language and expression etc.) of children's literature texts will be revealed. The relationship between children's literature and ‘creative thinking’ will be discussed by giving examples from children's literature products such as novels, stories, fairy tales and poems. To consider children's literature as a gateway to creative thinking is one of the necessitates for shaping the learning processes in education towards creative thinking and for acting with awareness in this direction. In this respect, it should be one of the main objectives to develop children's creative thinking skills and competences through children's literature at all levels of education.
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This paper explores the literary practices in the Macedonian cultural milieu from the ancient period. The research took into account data on ancient authors with different ethnic backgrounds who resided in the Macedonian royal court and who were engaged in literary activities, as well as available data on authors of Macedonian origin who were engaged in literary creation in one of the ancient cultural centers. The offered overview of the literary reflections, values and traditions in the Macedonian cultural milieu from the ancient period is an insight into the mutual Macedonian - Hellenic literary connections in antiquity that arise as a result of different forms of historical coexistence with non-literary and literary marker.
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The classification proves that this intercultural author Luan Starova, translated into over 20 languages, interpreted through the three paradigms of critical-theoretical reasoning, is proof that he is a read author, but somehow insufficiently proficient to suit a novelist of such a profile. Although the fact remains that it is interpreted more proficiently in Macedonian than in Albanian. The theoretical classification and interpretation of the above critical-theoretical interpretations raises the essential question, Do we in our literary criticism somehow accelerate when we wish to criticize, interpret through some contemporary theories and critical considerations? Do we hurt the text while trying to practice the newer theories in and through the text? Questionnaires remain open for further consideration. One thing is certain, some societies did not practice this or that art, but we have to agree with the fact that some artistic activity in them has always existed. That's how Stefan Moravski thinks, that we don't know societies without art and without aesthetic experiences. Since it has been experimentally proven that art is a biological instinct, the need for beauty, for aesthetics, will save literature.
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This article argues that in his collection of short stories England and Other Stories (2014), as in most of his fiction, Graham Swift is preoccupied with the limits of language, with what remains unsaid or is poorly communicated. In this volume, the writer’s focus on private, domestic and ordinary lives corresponds to his representation of the language of everyday interaction as essentially non-creative and formulaic. Swift’s deliberately clichéd language reflects what, as contemporary studies of discourse reveal, is a standard mode of social interaction. For example, Roberta Corrigan et al. affirm that linguistic formulae should be considered as yet another manifestation of behavioural routines (xxiii-xxiv), while Alison Wray claims that the reliance on formulaic language “predominates in normal language processing” (Formulaic Language 101). A range of uses of formulaic language is analysed in selected stories from the collection. It is demonstrated that, typically, characters choose prefabricated language for the paradoxical purpose of establishing and maintaining a degree of contact with others while avoiding in-depth interaction.
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Extract from a prose belonging to the Romanian-Canadian writer Felicia Mihali.
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This paper presents the results of conducted analysis on the reverse product placement potential of fictional literature from„witcher universe” and the techniques used to reliably them for the readers. During course of this study 7 main techniques for reliability were identified and over a 100 fictional literature cases were analysed. Results of this study showed that the Witcher universe has significant potential for reverse product placement usage.
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