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fiction</title> <meta name="description" content="Search results for: holocaust fiction"> <meta name="keywords" content="holocaust fiction"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="holocaust fiction"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 129</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: holocaust fiction</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">129</span> Mirrors and Lenses: Multiple Views on Recognition in Holocaust Literature</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kirsten%20A.%20Bartels">Kirsten A. Bartels</a> </p> <p class="card-text"><strong>Abstract:</strong></p> There are a number of similarities between survivor literature and Holocaust fiction for children and young adults. The paper explores three facets of the parallels of recognition found specifically between Livia Bitton-Jackson’s memoir of her experience during the Holocaust as an inmate in Auschwitz, I Have Lived a Thousand Years (1999) and Morris Glietzman series of Holocaust fiction. While Bitton-Jackson reflects on her past and Glietzman designs a fictive character, both are judicious with what they are willing to impart, only providing information about their appearance or themselves when it impacts others or when it serves a necessary purpose to the story. Another similarity lies in another critical aspect of many works of Holocaust literature – the idea of being ‘representatively Jewish’. The authors come to this idea from different angles, perhaps best explained as the difference between showing and telling, for Bitton-Jackson provides personal details, and Gleitzman constructed Felix arguably with this idea in mind. Interwoven through their journeys is a shift in perspectives on being recognized -- from wanting to be seen as individuals to being seen as Jew. With this, being Jewish takes on different meaning, both youths struggle with being labeled as something they do not truly understand, and may have not truly identified with, from a label, to a death warrant. With survivor literature viewed as the most credible and worthwhile type of Holocaust literature and Holocaust fiction is often seen as the least (with children’s and young-adult being the lowest form) the similarities in approaches to telling the stories may go overlooked or be undervalued. This paper serves as an exploration in the some of parallel messages shared between the two. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=holocaust%20fiction" title="holocaust fiction">holocaust fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=Holocaust%20literature" title=" Holocaust literature"> Holocaust literature</a>, <a href="https://publications.waset.org/abstracts/search?q=representatively%20Jewish" title=" representatively Jewish"> representatively Jewish</a>, <a href="https://publications.waset.org/abstracts/search?q=survivor%20literature" title=" survivor literature"> survivor literature</a> </p> <a href="https://publications.waset.org/abstracts/81304/mirrors-and-lenses-multiple-views-on-recognition-in-holocaust-literature" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81304.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">168</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">128</span> Visitor Discourses of European Holocaust Heritage: A Netnography</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Craig%20Wight">Craig Wight</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This presentation will identify the key findings from a recent netnographic discourse analysis of social media content generated in response to visits to three iconic European Holocaust Heritage sites: Ann Frank’s House in Amsterdam, the Netherlands, the Auschwutz-Birkenau Memorial Museum and Memorial in Poland, and the Jewish Museum in Berlin, Germany. Four major discourses are identified under the headings of Holocaust heritage as social memory, reactions to Holocaust heritage, obligation and ritual, and transgressive visitor behaviour. Together, these discourses frame the values, existential anxieties, emotions, priorities, and expectations of visitors. The findings will interest those involved in the planning and management of Holocaust heritage for tourism purposes since they provide unique access to an archive of unmediated visitor feedback on European Holocaust heritage experiences. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=foucault" title="foucault">foucault</a>, <a href="https://publications.waset.org/abstracts/search?q=european%20holocaust%20heritage" title=" european holocaust heritage"> european holocaust heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=discourse%20analysis" title=" discourse analysis"> discourse analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=netnography" title=" netnography"> netnography</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20media" title=" social media"> social media</a>, <a href="https://publications.waset.org/abstracts/search?q=dark%20tourism" title=" dark tourism"> dark tourism</a> </p> <a href="https://publications.waset.org/abstracts/155428/visitor-discourses-of-european-holocaust-heritage-a-netnography" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155428.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">143</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">127</span> Classification of Contexts for Mentioning Love in Interviews with Victims of the Holocaust</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marina%20Yurievna%20Aleksandrova">Marina Yurievna Aleksandrova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Research of the Holocaust retains value not only for history but also for sociology and psychology. One of the most important fields of study is how people were coping during and after this traumatic event. The aim of this paper is to identify the main contexts of the topic of love and to determine which contexts are more characteristic for different groups of victims of the Holocaust (gender, nationality, age). In this research, transcripts of interviews with Holocaust victims that were collected during 1946 for the "Voices of the Holocaust" project were used as data. Main contexts were analyzed with methods of network analysis and latent semantic analysis and classified by gender, age, and nationality with random forest. The results show that love is articulated and described significantly differently for male and female informants, nationality is shown results with lower values of quality metrics, as well as the age. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Holocaust" title="Holocaust">Holocaust</a>, <a href="https://publications.waset.org/abstracts/search?q=latent%20semantic%20analysis" title=" latent semantic analysis"> latent semantic analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=network%20analysis" title=" network analysis"> network analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=text-mining" title=" text-mining"> text-mining</a>, <a href="https://publications.waset.org/abstracts/search?q=random%20forest" title=" random forest"> random forest</a> </p> <a href="https://publications.waset.org/abstracts/141573/classification-of-contexts-for-mentioning-love-in-interviews-with-victims-of-the-holocaust" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/141573.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">180</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">126</span> The Impact of Professor Eugene Fischer on the Namibian Genocide and the Holocaust</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lanthony%20Slater">Lanthony Slater</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper will focus on the philosophy and practices of Eugene Fischer and his impact on the German Holocaust and the Namibian genocide. Fischer played a major role in racial superiority theory, eugenics, and the impact of human heredity. Through my research and comparative examination of his positionality in both societies, much is revealed about how philosophical notions would contribute to division and ultimately acts of genocide on two countries. In addition, this research will focus on the legacy in both events of genocide. The objective of the research is to connect both the Namibian genocide and the Holocaust in Germany. For many historians, when explaining the origins of the holocaust, connections to the Namibian genocide is often omitted. The main contribution to my research is to attribute the National Socialist ideology towards the ongoing issues that the country of Namibia is faced with. Additionally, it compares how Germany and Namibia deal with the legacies created under Nazism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=genocide" title="genocide">genocide</a>, <a href="https://publications.waset.org/abstracts/search?q=namibia" title=" namibia"> namibia</a>, <a href="https://publications.waset.org/abstracts/search?q=rehoboth" title=" rehoboth"> rehoboth</a>, <a href="https://publications.waset.org/abstracts/search?q=experiments" title=" experiments"> experiments</a> </p> <a href="https://publications.waset.org/abstracts/144416/the-impact-of-professor-eugene-fischer-on-the-namibian-genocide-and-the-holocaust" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144416.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">213</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">125</span> The Continuation of Trauma through Transcribing: Second Generation Survivors and the Inability for a 'Post-Holocaust'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sarah%20Snyder">Sarah Snyder</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Historians use the term ‘post-Holocaust’ to indicate the period from 1945 onward; however, for survivors of the Holocaust and their families, the Holocaust did not end in 1945. In fact, for some, it was just the beginning of their struggles. There are those who could not return to their homes, find loved ones, or fight off night terrors. Additionally, they continue to suffer from mental illness or physical disease stemming from the Holocaust. In order for historians to have a clearer understanding of the trauma survivors have endured, it is must to approach time differently. Trauma does not operate on a timeline and thereby, our understanding of ‘before,’ ‘during’ and ‘after’ are flawed. In order to convey this flaw, this study will examine memoirs of second and third-generation survivors and of child survivors. Within the second and third generation group, there are two types of generational memoirs that are scrutinized for this case study. The first being when a child or grandchild records the stories of their parent(s) or grandparent(s) without any of the second or third generation’s stories implicitly written. ‘Implicitly’ is used in the context that it is impossible for any writer to not impose at least some stylistic portion of themselves into writing, but the intent was to focus on the parent or grandparent. The other type of memoir is when they write their parent(s) or grandparent(s) story intertwined with their own story. Additionally, the child survivor has a unique role in memory and trauma studies. Much like later generations who write about the Holocaust but have not experienced the trauma firsthand, the child survivor must write about what they lived through and experienced but cannot remember without the assistance of research or other survivors. This study shows that survivors continue to demonstrate trauma-related paranoia. They fear experiencing another Holocaust. In their minds, they replay the horrors that they had experienced. A pilgrimage to a 20th century Europe, unlike one of the 1940s, causes uncertainty, confusion, and additional paranoia. It is through these findings that it becomes evident that historians must learn to study trauma without placing strict timelines that prevent understanding of how trauma impacts those who have experienced complex trauma. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=holocaust" title="holocaust">holocaust</a>, <a href="https://publications.waset.org/abstracts/search?q=generational" title=" generational"> generational</a>, <a href="https://publications.waset.org/abstracts/search?q=memoirs" title=" memoirs"> memoirs</a>, <a href="https://publications.waset.org/abstracts/search?q=trauma" title=" trauma"> trauma</a> </p> <a href="https://publications.waset.org/abstracts/129461/the-continuation-of-trauma-through-transcribing-second-generation-survivors-and-the-inability-for-a-post-holocaust" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/129461.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">203</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">124</span> The Politics of Hope in Climate Change Fiction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Naima%20Bilal">Naima Bilal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The contemporary Anthropocene novel, with all the atrocities, man-made and inflicted by Nature (and Supernature), differs from the Horror novel in one main characteristic, that being naively lingering to hope and the notion that all evils, days and people come to an end. The current article explores the psychological dimensions of this optimistic ending that Climate fiction novelists uphold and how does this 'hope' functions as a bait for the reader to act. The primary sources for the research are The Ministry for the Future by Kim Stanley Robinson, Parable of the Sower by Octivia Butller and Amtiv Ghosh’s Gun Island. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=hope%20in%20contemporary%20anthroprocene%20literature" title="hope in contemporary anthroprocene literature">hope in contemporary anthroprocene literature</a>, <a href="https://publications.waset.org/abstracts/search?q=Pakistani%20science%20fiction%20novels" title=" Pakistani science fiction novels"> Pakistani science fiction novels</a>, <a href="https://publications.waset.org/abstracts/search?q=science%20fiction%20as%20a%20remedy%20to%20contemporary%20climate%20problems" title=" science fiction as a remedy to contemporary climate problems"> science fiction as a remedy to contemporary climate problems</a>, <a href="https://publications.waset.org/abstracts/search?q=science%20the%20new%20religion" title=" science the new religion"> science the new religion</a> </p> <a href="https://publications.waset.org/abstracts/187949/the-politics-of-hope-in-climate-change-fiction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187949.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">32</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">123</span> Memorializing the Holocaust in the Present Century</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mehak%20Burza">Mehak Burza</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As we pause to observe the Holocaust Remembrance Day each year on 27 January, it becomes important to consider how the Holocaust is witnessed, and its education is perceived across the globe. The dissemination of knowledge of the Holocaust becomes more pertinent in the countries that were not directly affected by it. The Holocaust education is not widespread in Asian countries and is thus not mandatory as an academic discipline for school and university students. One such Asian country that often considers Holocaust as an isolated event is India. Though the struggle for freedom began with the 1857 mutiny (the first war of Indian independence) but the freedom revolts gained momentum specifically during the years 1944-1947, when India was steeped in a battery of rebellions. However, freedom for the Indian subcontinent from the domination of British Raj came at the cost of partition of India that resulted in widespread bloodshed and immigration. For India, it is this backdrop of her freedom struggle that always outweighs the incidents of the Second World War, including the catastrophic event of the Holocaust. As a result, the knowledge about the Holocaust is available through secondary sources such as Holocaust documentaries and movies. Besides Anne Frank’s diary, the knowledge about the Holocaust is disseminated through the course readings in the universities. The most common literary acquaintances with the Jewish faith for university students are when they come across the Jewish characters in their course readings. The Prioress’s Tale in Geoffrey Chaucer’s Canterbury Tales, the character of Shylock in William Shakespeare’s The Merchant of Venice, and the Jewish protagonist, Barabas, in Christopher Marlow’s Jew of Malta. Apart from this, the school textbooks mention a detailed chapter on Holocaust and Hitler, which is an encouraging turn. However, there still exists a yawning gap between dissemination and sensitization of Holocaust education owing to different geographical locales. My paper presentation aims to trace the intersectional elements between India and the Holocaust that can serve as the required pivotal stand-board to foster sensitization towards Holocaust education in the Indian subcontinent. For instance, Maharaja Jam SahebDigvijaysinhjiRanjitsinhji, the ruler of Nawanagar, a princely state in British India, helped save thousand Polish Jewish children in 1945 at the time when India herself was steeped in its struggle for freedom. Famously known as the ‘Indian Oskar Schindler’ Polish government has named a street after him in Krakow, Poland. Another example that deserves mention is the spy princess, Noor Inayat Khan, a descendent of Tipu Sultan, who became the most celebrated British spyand fought against the Nazis. Additionally, by offering refuge to Jews, India has proved to be a distant haven for them. Researching further the domain of Jewish refugees in India will not only illuminate a dull/gray zone of investigation but also enable the educators to provide appropriate entry points for introducing the subject of Shoah/Holocaust in India, a subject which unfortunately hitherto is either seldom discussed or is equated with the Partition of India. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=awareness" title="awareness">awareness</a>, <a href="https://publications.waset.org/abstracts/search?q=dissemination" title=" dissemination"> dissemination</a>, <a href="https://publications.waset.org/abstracts/search?q=holocaust" title=" holocaust"> holocaust</a>, <a href="https://publications.waset.org/abstracts/search?q=India" title=" India"> India</a> </p> <a href="https://publications.waset.org/abstracts/146386/memorializing-the-holocaust-in-the-present-century" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146386.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">137</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">122</span> The Future Shrouded by the Ghost of History: Palestinian Science Fiction "The Key"</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=KongQue">KongQue</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Palestinian novelist Anwar Hamed’s work "The Key" is a science fiction that profoundly metaphors the Palestinian issue. In the novel, Anwar Hamed uses the "key", a popular symbol of Palestinian resistance culture, to symbolize the history of "Nakba" and the Palestinians' right to return, and uses the ghost lingering outside the door of the Israelis as a metaphor Palestinians and the Palestinian issue, for being covered, hidden, and turned a blind eye. Through the literary genre of science fiction, Anwar Hamed continues the literary tradition of Palestinian writers recreating the historical trauma of the Palestinians, explores the causes of the inability to communicate between Palestine and Israel, and attempts to reawaken concern over the plight of Palestinian refugees. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=palestine" title="palestine">palestine</a>, <a href="https://publications.waset.org/abstracts/search?q=key" title=" key"> key</a>, <a href="https://publications.waset.org/abstracts/search?q=science%20fiction" title=" science fiction"> science fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=arabic%20literature" title=" arabic literature"> arabic literature</a> </p> <a href="https://publications.waset.org/abstracts/175597/the-future-shrouded-by-the-ghost-of-history-palestinian-science-fiction-the-key" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/175597.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">71</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">121</span> Shadows and Symbols: The Tri-Level Importance of Memory in Jane Yolen's 'the Devil's Arithmetic' and Soon-To-Be-Published 'Mapping the Bones'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kirsten%20A.%20Bartels">Kirsten A. Bartels</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 'Never again' and 'Lest we forget' have long been messages associated with the events of the Shoah. Yet as we attempt to learn from the past, we must find new ways to engage with its memories. The preservation of the culture and the value of tradition are critical factors in Jane Yolen's works of Holocaust fiction, The Devil's Arithmetic and Mapping the Bones, emphasized through the importance of remembering. That word, in its multitude of forms (remember, remembering, memories), occurs no less than ten times in the first four pages and over one hundred times in the one hundred and sixty-four-page narrative The Devil’s Arithmetic. While Yolen takes a different approach to showcasing the importance of memory in Mapping the Bones, it is of equal import in this work and arguably to the future of Holocaust knowing. The idea of remembering, the desire to remember, and the ability to remember, are explored in three divergent ways in The Devil’s Arithmetic. First, in the importance to remember a past which is not her own – to understand history or acquired memories. Second, in the protagonist's actual or initial memories, those of her life in modern-day New York. Third, in a reverse mode of forgetting and trying to reacquire that which has been lost -- as Hannah is processed in the camp and she forgets everything, all worlds prior to the camp are lost to her. As numbers replace names, Yolen stresses the importance of self-identity or owned memories. In addition, the importance of relaying memory, the transitions of memory from perspective, and the ideas of reflective telling are explored in Mapping the Bones -- through the telling of the story through the lens of one of the twins as the events are unfolding; and then the through the reflective telling from the lens of the other twin. Parallel to the exploration of the intersemiosis of memory is the discussion of literary shadows (foreshadowing, backshadowing, and side-shadowing) and their impact on the reader's experience with Yolen's narrative. For in this type of exploration, one cannot look at the events described in Yolen's work and not also contemplate the figurative shadows cast. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=holocaust%20literature" title="holocaust literature">holocaust literature</a>, <a href="https://publications.waset.org/abstracts/search?q=memory" title=" memory"> memory</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=Yolen" title=" Yolen"> Yolen</a> </p> <a href="https://publications.waset.org/abstracts/81302/shadows-and-symbols-the-tri-level-importance-of-memory-in-jane-yolens-the-devils-arithmetic-and-soon-to-be-published-mapping-the-bones" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81302.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">237</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">120</span> Reclaiming the Lost Jewish Identity of a Second Generation Holocaust Survivor Raised as a Christian: The Role of Art and Art Therapy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bambi%20Ward">Bambi Ward</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Children of Holocaust survivors have been described as inheriting their parents’ trauma as a result of ‘vicarious memory’. The term refers to a process whereby second generation Holocaust survivors subconsciously remember aspects of Holocaust trauma, despite not having directly experienced it. This can occur even when there has been a conspiracy of silence in which survivors chose not to discuss the Holocaust with their children. There are still people born in various parts of the world such as Poland, Hungary, other parts of Europe, USA, Canada and Australia, who have only learnt of their Jewish roots as adults. This discovery may occur during a parent’s deathbed confession, or when an adult child is sorting through the personal belongings of a deceased family member. Some Holocaust survivors chose to deny their Jewish heritage and raise their children as Christians. Reasons for this decision include the trauma experienced during the Holocaust for simply being Jewish, the existence of anti-Semitism, and the desire to protect one’s self and one’s family. Although there has been considerable literature written about the transgenerational impact of trauma on children of Holocaust survivors, there has been little scholarly investigation into the effects of a hidden Jewish identity on these children. This paper presents a case study of an adult child of Hungarian Holocaust survivors who was raised as a Christian. At the age of eight she was told about her family’s Jewish background, but her parents insisted that she keep this a secret, even if asked directly. She honoured their request until she turned forty. By that time she had started the challenging process of reclaiming her Jewish identity. The paper outlines the tension between family loyalty and individual freedom, and discusses the role that art and art therapy played in assisting the subject of the case study to reclaim her Jewish identity and commence writing a memoir about her spiritual journey. The main methodology used in this case study is creative practice-led research. Particular attention is paid to the utilisation of an autoethnographic approach. The autoethnographic tools used include reflective journals of the subject of the case study. These journals reflect on the subject’s collection of autobiographical data relating to her family history, and include memories, drawings, products of art therapy, diaries, letters, photographs, home movies, objects, and oral history interviews with her mother. The case study illustrates how art and art therapy benefitted a second generation Holocaust survivor who was brought up having to suppress her Jewish identity. The process allowed her to express subconscious thoughts and feelings about her identity and free herself from the burden of the long term secret she had been carrying. The process described may also be of assistance to other traumatised people who have been trying to break the silence and who are seeking to express themselves in a positive and healing way. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art" title="art">art</a>, <a href="https://publications.waset.org/abstracts/search?q=hidden%20identity" title=" hidden identity"> hidden identity</a>, <a href="https://publications.waset.org/abstracts/search?q=holocaust" title=" holocaust"> holocaust</a>, <a href="https://publications.waset.org/abstracts/search?q=silence" title=" silence"> silence</a> </p> <a href="https://publications.waset.org/abstracts/44329/reclaiming-the-lost-jewish-identity-of-a-second-generation-holocaust-survivor-raised-as-a-christian-the-role-of-art-and-art-therapy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44329.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">239</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">119</span> The Study of Idiom Translation in Fiction from English into Thai</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinchira%20Bunchutrakun">Chinchira Bunchutrakun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purposes of the study are to investigate the problems that the translators encountered when translating English idioms into Thai and study the strategies they applied in solving the problems. The original English version and the Thai translated version of each of two works of fiction were purposively selected for the study. The first was Mr. Maybe, written by Jane Green and translated by Montharat Songphao. The second was The Trials of Tiffany Trott, written by Isabel Wolff and translated by Jitraporn Notoda. Thirty idioms of two translated works of fiction were, then, analyzed. Questionnaires and interviews with the translators of each novel were conducted to obtain the best possible information. The results indicated that the only type of problem that occurred was cultural problems, and these were solved differently by the two translators. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=translation" title="translation">translation</a>, <a href="https://publications.waset.org/abstracts/search?q=idiom%20translation" title=" idiom translation"> idiom translation</a>, <a href="https://publications.waset.org/abstracts/search?q=fiction%20translation" title=" fiction translation"> fiction translation</a>, <a href="https://publications.waset.org/abstracts/search?q=problem-solution%20strategies" title=" problem-solution strategies"> problem-solution strategies</a> </p> <a href="https://publications.waset.org/abstracts/12436/the-study-of-idiom-translation-in-fiction-from-english-into-thai" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12436.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">298</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">118</span> A Relationship Extraction Method from Literary Fiction Considering Korean Linguistic Features</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hee-Jeong%20Ahn">Hee-Jeong Ahn</a>, <a href="https://publications.waset.org/abstracts/search?q=Kee-Won%20Kim"> Kee-Won Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Seung-Hoon%20Kim"> Seung-Hoon Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The knowledge of the relationship between characters can help readers to understand the overall story or plot of the literary fiction. In this paper, we present a method for extracting the specific relationship between characters from a Korean literary fiction. Generally, methods for extracting relationships between characters in text are statistical or computational methods based on the sentence distance between characters without considering Korean linguistic features. Furthermore, it is difficult to extract the relationship with direction from text, such as one-sided love, because they consider only the weight of relationship, without considering the direction of the relationship. Therefore, in order to identify specific relationships between characters, we propose a statistical method considering linguistic features, such as syntactic patterns and speech verbs in Korean. The result of our method is represented by a weighted directed graph of the relationship between the characters. Furthermore, we expect that proposed method could be applied to the relationship analysis between characters of other content like movie or TV drama. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=data%20mining" title="data mining">data mining</a>, <a href="https://publications.waset.org/abstracts/search?q=Korean%20linguistic%20feature" title=" Korean linguistic feature"> Korean linguistic feature</a>, <a href="https://publications.waset.org/abstracts/search?q=literary%20fiction" title=" literary fiction"> literary fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=relationship%20extraction" title=" relationship extraction"> relationship extraction</a> </p> <a href="https://publications.waset.org/abstracts/47126/a-relationship-extraction-method-from-literary-fiction-considering-korean-linguistic-features" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/47126.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">380</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">117</span> Translating History in a Brazilian Graphic Novel: A Translation Project for Angola Janga by Marcelo D'Salete</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carolina%20Rezende">Carolina Rezende</a>, <a href="https://publications.waset.org/abstracts/search?q=Julio%20Cesar%20Neves%20Monteiro"> Julio Cesar Neves Monteiro</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditionally, History and fiction are considered to be opposing fields of study. While one is linked to the study of facts, things that have happened within the limits of ‘reality’, the other explores a made-up world, originated from imagination and fantasy. However, despite their apparent discrepancies, there is a fundamental trait that brings them closer. Historical narratives, similarly to fiction ones, are produced based on multiple interpretations of an event, which are transmitted in a rather subjective way by language. It is within this perspective of history and fiction intertwined that this paper aims to discuss the translation of historical facts in the graphic novel Angola Janga, by Marcelo D’Salete, as well as presenting it as a historical document. The novel, which is divided into 11 short stories, narrates the rebellions that took place in Serra da Barriga, between the 16th and 17th centuries, that resulted in the Guerra dos Palmares. The graphic novel in question is a result of the author’s 11-year historical and bibliographical research, which combines history and fiction in order to shed a light of the confrontation that history seems to overlook. Also, the book includes a foreword, glossary, chronological line of Guerra dos Palmares, as well as maps and references used by the author during his research. For that, a few segments from the book will be selected and translated in order to show such connection between history and fiction, and the discussion resulted from it will be based on the works of Southgate (2009), Pym (2001) and D’hulst (2001). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=graphic%20novel" title="graphic novel">graphic novel</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a>, <a href="https://publications.waset.org/abstracts/search?q=fiction" title=" fiction"> fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=Palmares" title=" Palmares"> Palmares</a> </p> <a href="https://publications.waset.org/abstracts/100900/translating-history-in-a-brazilian-graphic-novel-a-translation-project-for-angola-janga-by-marcelo-dsalete" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/100900.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">175</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">116</span> Redeeming the Self-Settling Scores with the Nazis by the Means of Poetics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Liliane%20Steiner">Liliane Steiner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Beyond the testimonial act, that sheds light on the feminine experience in the Holocaust, the survivors' writing voices first and foremost the abjection of the feminine self brutally inflicted by the Nazis in the Holocaust, and in the same movement redeems the self by the means of poetics, and brings it to an existential state of being a subject. This study aims to stress the poetics of this writing in order to promote the Holocaust literature from the margins to the mainstream and to contribute to the commemoration of the Holocaust in the next generations. Methodology: The study of the survivors' redeeming of self is based on Julia Kristeva's theory of the abject: the self-throws out everything that threatens its existence and Liliane Steiner's theory of the post- abjection of hell: the belated act of vomiting the abject experiences settles cores with the author of the abject to redeem the self. The research will focus on Ruth Sender's trilogy The Cage, To Life and The Holocaust Lady as a case study. Findings: The binary mode that characterizes this writing reflects the experience of Jewish women, who were subject(s), were treated violently as object(s), debased, defeminized and, eventually turned into abject by the Nazis. In a tour de force, this writing re-enacts the postponed resistance, that vomited the abject imposed on the feminine self by the very act of narration, which denounces the real abject, the perpetrators. The post-abjection of self is acted out in constructs of abject, relating the abject experience of the Holocaust as well as the rehabilitation of the surviving self (subject). The transcription of abject surfaces in deconstructing the abject through self- characterization, and in the elusive rendering of bad memories, having recourse to literary figures. The narrative 'I' selects, obstructs, mends and tells the past events from an active standpoint, as would a subject in control of its (narrative) fate. In a compensatory movement, the narrating I tells itself by reconstructing the subject and proving time and again that I is other. Moreover, in the belated endeavor to revenge, testify and narrate the abject, the narrative I defies itself, and represents itself as a dialectical I, splitting and multiplying itself in a deconstructing way. The dialectical I is never (one) I. It voices not only the unvoiced but also and mainly the other silenced 'I's. Drawing its nature and construct from traumatic memories, the dialectical I transgresses boundaries to narrate her story, and in the same breath, the story of Jewish women doomed to silence. In this narrative feat, the dialectical I stresses its essential dialectical existence with the past, never to be (one) again. Conclusion: The pattern of I is other generates patterns of subject(s) that defy, transgress and repudiate the abject and its repercussions on the feminine I. The feminine I writes itself as a survivor that defies the abject (Nazis) and takes revenge. The paradigm of metamorphosis that accompanies the journey of the Holocaust memoirist engenders life and surviving as well as a narration that defies stagnation and death. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=abject" title="abject">abject</a>, <a href="https://publications.waset.org/abstracts/search?q=feminine%20writing" title=" feminine writing"> feminine writing</a>, <a href="https://publications.waset.org/abstracts/search?q=holocaust" title=" holocaust"> holocaust</a>, <a href="https://publications.waset.org/abstracts/search?q=post-abjection" title=" post-abjection"> post-abjection</a> </p> <a href="https://publications.waset.org/abstracts/98773/redeeming-the-self-settling-scores-with-the-nazis-by-the-means-of-poetics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98773.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">103</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">115</span> The Performance of Modern Eugenics: Ballroom of the Skies as a Method of Understanding American Social Eugenics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michael%20Stokes">Michael Stokes</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Using a disability studies approach, this paper analyzes the American science fiction novel Ballroom of the Skies as way to address and access narratives of American exceptionalism in relation to global struggle. Combined with a critical race studies analysis of identity and cultural practice, this essay seeks to find parallels between the treatment of disability and the treatment of the racialized body in literature to forcibly reread potential for multiple assemblages of identity in the speculated futures of science fiction. Thinking through this relationship, the essay constructs a thematic understanding of social eugenics as practiced in American culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=disability%20studies" title="disability studies">disability studies</a>, <a href="https://publications.waset.org/abstracts/search?q=science%20fiction" title=" science fiction"> science fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=eugenics" title=" eugenics"> eugenics</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20studies" title=" cultural studies"> cultural studies</a> </p> <a href="https://publications.waset.org/abstracts/76999/the-performance-of-modern-eugenics-ballroom-of-the-skies-as-a-method-of-understanding-american-social-eugenics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/76999.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">251</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">114</span> The Novel of 'the Adventure of the Secrets': Character in Postmodern Labyrinth, the Problem of Time and Subject </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nargiz%20Ismayilova">Nargiz Ismayilova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Kamal Abdulla's "The Adventure of Mysteries", the plot develops on two parallel lines. While reading the work, the future looks hazy on the background of the present and the past. It is impossible to predict the end of the work in particular. This can be considered the success of the author. The novel has reflected the features of postmodernism. The novel is characterized by a richness of intertwined plots, themes, meta- submission, device (fiction) typical of postmodern prose technique. The introduction and progress of the work takes the reader to the place, which is an unrecognizable unknown for him but at the same time, its native for him very well. Parts of the novel, divided into chapter techniques, force the reader to distinguish mystical repetitions from the artistic circulation of reality. This makes people think directly. Intertextual communication and the variety of fiction, intelligence, and informativeness determine the perspective of the exemplary reader. As is well known, “postmodern novels, which often use intertextual communication and superstructure techniques, focus on expression rather than on the subject, and benefit from history by combining fiction with historical facts, are able to attract attention with their extraordinary foreign fiction. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kamal%20Abdulla" title="Kamal Abdulla">Kamal Abdulla</a>, <a href="https://publications.waset.org/abstracts/search?q=postmodernism" title=" postmodernism"> postmodernism</a>, <a href="https://publications.waset.org/abstracts/search?q=parallelism" title=" parallelism"> parallelism</a>, <a href="https://publications.waset.org/abstracts/search?q=labyrinth" title=" labyrinth"> labyrinth</a>, <a href="https://publications.waset.org/abstracts/search?q=comparison" title=" comparison"> comparison</a>, <a href="https://publications.waset.org/abstracts/search?q=novel" title=" novel"> novel</a> </p> <a href="https://publications.waset.org/abstracts/129908/the-novel-of-the-adventure-of-the-secrets-character-in-postmodern-labyrinth-the-problem-of-time-and-subject" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/129908.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">180</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">113</span> Faithfulness of Film Adaptations: An Evaluation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mel%20Aljon%20A.%20Montesa">Mel Aljon A. Montesa</a>, <a href="https://publications.waset.org/abstracts/search?q=Cynthia%20A.%20Martinez"> Cynthia A. Martinez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As the advent of the trend of lifting books into film flourishes, the study was conducted which concerns the evaluation of the level of faithfulness of film adaptations. This study assessed the level of faithfulness of the book based on the elements of fiction and determined whether the respondents were affected by it. Sixty (60) respondents were included in the study which composed of readers who have read the book before watching the film and viewers who watched the film first before reading the sourced text. The results revealed that most of the respondents evaluated the level of faithfulness of the four out of five elements of fiction including the plot, setting, conflict, and theme as moderately faithful while they found the characters somewhat faithful to the original characters. It was evident in the results that there are significant relationships among the plot and theme and its emotional effects to the respondents, thus, data also showed the significant relationships between the four out of five elements of fictions, excluding setting, and its social or behavioral effects to the respondents. A proposed rubric was made to evaluate film adaptations based on the film elements of fiction. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=elements%20of%20fiction" title="elements of fiction">elements of fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20adaptations" title=" film adaptations"> film adaptations</a>, <a href="https://publications.waset.org/abstracts/search?q=level%20of%20faithfulness" title=" level of faithfulness"> level of faithfulness</a>, <a href="https://publications.waset.org/abstracts/search?q=psychological%20effects" title=" psychological effects"> psychological effects</a> </p> <a href="https://publications.waset.org/abstracts/23402/faithfulness-of-film-adaptations-an-evaluation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23402.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">301</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">112</span> Multiplicity of Themes in Philip Roth's Fiction: Expressing Contemporariness</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shivani%20Sharma">Shivani Sharma</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Philip Roth is one of the most significant contemporary American novelists and is always engaged in creative activities. He is a recognized and prolific novelist of post-World War II period, an author of over 29 books where his text serves as a picture as well as critiques of contemporary culture from World War II to post 9/11 America. Roth is an honored author who has been awarded with prestigious literary awards. In his works he explains what is important to contemporary American Jews. His fiction is known for its autobiographical character, for blurring the distinction between reality and fiction, also for challenging exploration of Jewish and American identity. In many ways Roth is also considered as postmodern writer as his works can be read in the context of being a postmodern narration. He also stands as one of the most offensive novelist living today and has been read as a misogynist, a liberal defender, a solipsist, an anti-communist, and even an anti-Semite. It is not only the variety of contemporary issues that are discussed in his works but we can also see the strong element of multiplicity of themes in his writings. This paper is an attempt to explore the multiplicity of themes in the fiction of Philip Roth. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multiple%20themes" title="multiple themes">multiple themes</a>, <a href="https://publications.waset.org/abstracts/search?q=Jewish-American%20literature" title=" Jewish-American literature"> Jewish-American literature</a>, <a href="https://publications.waset.org/abstracts/search?q=Philip%20Roth" title=" Philip Roth"> Philip Roth</a>, <a href="https://publications.waset.org/abstracts/search?q=expressing%20contemporariness" title=" expressing contemporariness"> expressing contemporariness</a> </p> <a href="https://publications.waset.org/abstracts/21768/multiplicity-of-themes-in-philip-roths-fiction-expressing-contemporariness" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/21768.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">446</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">111</span> Culture and Commodification: A Study of William Gibson's the Bridge Trilogy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aruna%20Bhat">Aruna Bhat</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Culture can be placed within the social structure that embodies both the creation of social groups, and the manner in which they interact with each other. As many critics have pointed out, culture in the Postmodern context has often been considered a commodity, and indeed it shares many attributes with commercial products. Popular culture follows many patterns of behavior derived from Economics, from the simple principle of supply and demand, to the creation of marketable demographics which fit certain criterion. This trend is exemplary visible in contemporary fiction, especially in contemporary science fiction; Cyberpunk fiction in particular which is an off shoot of pure science fiction. William Gibson is one such author who in his works portrays such a scenario, and in his The Bridge Trilogy he adds another level of interpretation to this state of affairs, by describing a world that is centered on industrialization of a new kind – that focuses around data in the cyberspace. In this new world, data has become the most important commodity, and man has become nothing but a nodal point in a vast ocean of raw data resulting into commodification of each thing including Culture. This paper will attempt to study the presence of above mentioned elements in William Gibson’s The Bridge Trilogy. The theories applied will be Postmodernism and Cultural studies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=commodity" title=" commodity"> commodity</a>, <a href="https://publications.waset.org/abstracts/search?q=cyberpunk" title=" cyberpunk"> cyberpunk</a>, <a href="https://publications.waset.org/abstracts/search?q=data" title=" data"> data</a>, <a href="https://publications.waset.org/abstracts/search?q=postmodern" title=" postmodern"> postmodern</a> </p> <a href="https://publications.waset.org/abstracts/21740/culture-and-commodification-a-study-of-william-gibsons-the-bridge-trilogy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/21740.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">504</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">110</span> The Hitchhiker’s Guide to the Galaxy: The Challenges of Translating Science Fiction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Esteban%20Tremoco">Esteban Tremoco</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article aims to highlight some specificities of translating Science Fiction (SF literature) and, more particularly, its comic subgenre. Translating SF presupposes the translation of neologisms and gadget names of all kinds, while the translation of humor sometimes implies a need for the translator to slightly modify certain scenes or situations. In the French translation of Douglas Adams' Hitchhiker's Guide to the Galaxy by Jean Bonnefoy (Guide du routard galactique, 1982), the humorous dimension of the book is enhanced through certain choices made by the translator. One of the striking aspects of this translation is that almost all of the characters’ names have been translated, which is not the case in the German, Italian, Spanish and Portuguese translations. While there may be translations of characters’ names outside of the SF literature, there is no denying that by translating them, Jean Bonnefoy added a humorous layer to Adams' work. This work belongs to science fiction literature thanks to gadgets resulting from futuristic technological innovations, but also the presence of space travel, extra-terrestrials and mysterious worlds, which are central elements in SF. These names of planets, aliens, and other gadgets have also been translated, adapted, or at least reinvented, by Jean Bonnefoy in order to amuse the French-speaking readership. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=translation" title="translation">translation</a>, <a href="https://publications.waset.org/abstracts/search?q=translation%20studies" title=" translation studies"> translation studies</a>, <a href="https://publications.waset.org/abstracts/search?q=humour" title=" humour"> humour</a>, <a href="https://publications.waset.org/abstracts/search?q=science%20fiction" title=" science fiction"> science fiction</a> </p> <a href="https://publications.waset.org/abstracts/167393/the-hitchhikers-guide-to-the-galaxy-the-challenges-of-translating-science-fiction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167393.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">82</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">109</span> Postcolonialism and Feminist Dialogics: Re-Imaging Cultural Exclusion in the Nigerian Feminist Fiction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Dahiru">Muhammad Dahiru</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A contestable polemic in postcolonialism is the Western Universalist conception of the people of a vast continent such as Africa as homogenous. Quite often, the postcolonial African woman is seen as an entity in western cultural and literary feminist theorisations. The debate between the so-called western feminist scholarship and the postcolonial/third world feminists that began in the late 1980s focuses on this universalisation of women’s concerns as monolithic. This article argues that the universalising assumption that all women share similar concerns in not only Africa as a continent but even in Nigeria as a country is misleading because of cultural differences. The article is a dialogic reading of Nigerian literature arguing that there is no culturally normative perspective on Nigerian feminist fiction because of the multifaceted and multicultural concerns of women writers from the different cultural regions in the country. The article concludes that this can better be read and appreciated through the lens of M. M. Bakhtin’s theory of dialogism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20exclusion" title="cultural exclusion">cultural exclusion</a>, <a href="https://publications.waset.org/abstracts/search?q=dialogics" title=" dialogics"> dialogics</a>, <a href="https://publications.waset.org/abstracts/search?q=Nigerian%20feminist%20fiction" title=" Nigerian feminist fiction"> Nigerian feminist fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=postcolonialism" title=" postcolonialism"> postcolonialism</a> </p> <a href="https://publications.waset.org/abstracts/102670/postcolonialism-and-feminist-dialogics-re-imaging-cultural-exclusion-in-the-nigerian-feminist-fiction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102670.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">206</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">108</span> Literary Imagination and Leadership: Lessons From the Classroom</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Naor%20Cohen">Naor Cohen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In recent years, business schools made teaching ethical leadership a higher priority. Greater attention to moral and ethical concepts and reasoning processes may prove beneficial to future business leaders. But with a shift in focus, there is a need for a shift in pedagogy. This paper explores an imaginative literature-based pedagogy in the teaching of ethical leadership. An imaginative literature-based pedagogy uses works of fiction to help students build moral analysis and moral judgment capabilities through a rigorous assessment of the moral soundness of actions, motivations, rationales, and consequences portrayed in works of fiction. Business students enrolled in 4 leadership senior-level courses were assigned the White Tiger: A Novel by Aravind Adiga as their main course reading. Students' engagement was measured as a three-factor construct exploring cognitive engagement, behavioural engagement and emotional engagement. In addition, students' final papers were analyzed using thematic content analysis. This paper will present the results of this analysis and argue that incorporating fiction into the leadership curriculum allows students to explore the dire consequences of avoiding countervailing interests, engaging in dishonesty and engaging in moral puffery-based leadership. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ethical%20leadership" title="ethical leadership">ethical leadership</a>, <a href="https://publications.waset.org/abstracts/search?q=empathetic%20imagination" title=" empathetic imagination"> empathetic imagination</a>, <a href="https://publications.waset.org/abstracts/search?q=business%20education" title=" business education"> business education</a>, <a href="https://publications.waset.org/abstracts/search?q=pedagogy" title=" pedagogy"> pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=fiction" title=" fiction"> fiction</a> </p> <a href="https://publications.waset.org/abstracts/140159/literary-imagination-and-leadership-lessons-from-the-classroom" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/140159.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">204</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">107</span> Investigating the Concept of Joy in Modern English Fiction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zarine%20Avetisyan">Zarine Avetisyan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paradigm of Modern Linguistics incorporates disciplines which allow to analyze both language and discourse units and to demonstrate the multi-layeredness of lingo-cultural consciousness. By implementing lingo-cognitive approach to discourse and communication studies, the present paper tries to create the integral linguistic picture of the concept of joy and to analyze the lexico-semantic groups and relevant lexico-semantic variants of its realization in the context of Modern English fiction. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=concept%20of%20joy" title="concept of joy">concept of joy</a>, <a href="https://publications.waset.org/abstracts/search?q=lexico-semantic%20variant" title=" lexico-semantic variant"> lexico-semantic variant</a>, <a href="https://publications.waset.org/abstracts/search?q=semantic%20sign" title=" semantic sign"> semantic sign</a>, <a href="https://publications.waset.org/abstracts/search?q=cognition" title=" cognition"> cognition</a> </p> <a href="https://publications.waset.org/abstracts/50821/investigating-the-concept-of-joy-in-modern-english-fiction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50821.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">279</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">106</span> Enigmatic Identity and Alienated Self: Existential Analysis of Paul Auster's the Brooklyn Follies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sapna%20Bhargav">Sapna Bhargav</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Contemporary fiction is an intricate exercise where novelist acquires the role of a philosopher, a sociologist and a psychologist. The dilemma of fragmented self that a man experiences, is a crucial subject of contemporary fiction. Paul Auster's fiction is exemplary of the merger of Existentialism and Postmodernism, and while both of these movements insist on isolation of the self from all aspects of social affiliation, Auster's unique blend of these concepts presents man in a state which is not just alienated, but stranded in a desolate abyss, rendering even the release of death as questionable. The conundrums of the self is a compulsory consequence of the existentialist alienation that postmodern man is subjected to, and is further accentuated by the fact that existentialist freedom dictates that not only are one's actions not dictated by any form of external entity, but also the onus of one's destiny lies on an individual's own deeds. This paper will analyse Auster's The Brooklyn Follies from an Existentialist perspective, and will attempt to trace the alienation and identity conflicts of the Auster’s characters along with some of the common Austerian themes. An emphasis will be laid on the characters’ endeavour to reconstruct their lost self. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=alienation" title="alienation">alienation</a>, <a href="https://publications.waset.org/abstracts/search?q=existentialism" title=" existentialism"> existentialism</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=postmodernism" title=" postmodernism"> postmodernism</a>, <a href="https://publications.waset.org/abstracts/search?q=self" title=" self"> self</a> </p> <a href="https://publications.waset.org/abstracts/21784/enigmatic-identity-and-alienated-self-existential-analysis-of-paul-austers-the-brooklyn-follies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/21784.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">588</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">105</span> Transmission of Intergenerational Trauma: Protecting Those who Still Suffer from Pain of their Ancestors’ Trauma</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bonnie%20Pollak">Bonnie Pollak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As the world continues to suffer grievous injuries, future generations will suffer from trauma that was inflicted on innocent victims. Trauma can result from refugees fleeing their homes, exposure to warfare, loss of loved ones, and lack of shelter and basic necessities. The Holocaust continues to cause pain even though WWII ended nearly 80 years ago. One cannot forget the inhumane treatment and murder of relatives. The pain and trauma may continue for generations. The purpose of the Final Solution was to eliminate Jews in totality. Though Hitler’s plan was not successful, he managed to cause trauma that will continue with no end date in sight. “The Effects of Trauma and Secondary Trauma,” Trauma can cause life-long challenges, eating disorders, cardiovascular disease, cancer, sleeping difficulties, fear of going outside, guilt, separation problems, and epigenetic changes. Secondary Trauma, witnessing a loved one in danger or hearing about the danger, can cause similar symptoms as seen in primary trauma. The transmission of trauma was demonstrated in children of Holocaust survivors and in communities where oppression was commonplace. We are witnessing a repeat of widescale death and horrific injuries today in Ukraine and in other parts of the world, where concern for pain and trauma is not acknowledged by perpetrators. Lessons from the Holocaust can be applied to help others who have been traumatized by widescale terrorism resulting in death of loved ones, loss of home and shelter, food and other life-sustaining measures. The world must help victims by providing basic necessities but also by using trauma-informed care, focusing on strength and resilience, and helping individuals to feel pride in their identity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=transmission%20of%20intergenerational%20trauma" title="transmission of intergenerational trauma">transmission of intergenerational trauma</a>, <a href="https://publications.waset.org/abstracts/search?q=impact%20on%20religious%20beliefs%20and%20practices" title=" impact on religious beliefs and practices"> impact on religious beliefs and practices</a>, <a href="https://publications.waset.org/abstracts/search?q=2nd%20generation" title=" 2nd generation"> 2nd generation</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a> </p> <a href="https://publications.waset.org/abstracts/148597/transmission-of-intergenerational-trauma-protecting-those-who-still-suffer-from-pain-of-their-ancestors-trauma" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/148597.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">111</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">104</span> The Women's Orchestra and Music in Auschwitz-Birkenau: A Qualitative Study on Nazi Manipulation </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=K.%20T.%20%20Kohler">K. T. Kohler</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Typically in war, force involves physical violence, though those who perpetrated the Holocaust expanded manipulation techniques to include mental violence. This qualitative research study was conducted to understand the effects that the music of the Women’s Orchestra of Auschwitz-Birkenau had on women prisoners during World War II. Over 100 testimonies from the USC Shoah Foundation’s Visual History Archive reveal that the orchestra’s music had a profoundly distressing effect on many of the women in the camp. Led by Gustav Mahler’s granddaughter, Alma Rosé, the orchestra rhythmed the life cycle of the camp, from marching to and from work, Sunday concerts, welcoming transports, to the prisoners’ walk to gas chambers. What surfaced from these testimonies was that the more technical the exposure a woman had to music before camp, the more disturbing its effect. The juxtaposition of beauty with the visible horror of the camp thrust them into an impossible state where suicide became a plausible alternative. By exploiting the Women’s Orchestra, the Nazis made music a critical component of manipulation within Auschwitz-Birkenau. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alma%20Ros%C3%A9" title="Alma Rosé">Alma Rosé</a>, <a href="https://publications.waset.org/abstracts/search?q=Auschwitz-Birkenau" title=" Auschwitz-Birkenau"> Auschwitz-Birkenau</a>, <a href="https://publications.waset.org/abstracts/search?q=camp%20life" title=" camp life"> camp life</a>, <a href="https://publications.waset.org/abstracts/search?q=concert" title=" concert"> concert</a>, <a href="https://publications.waset.org/abstracts/search?q=Holocaust" title=" Holocaust"> Holocaust</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=O%C5%9Bwi%C4%99cim" title=" Oświęcim"> Oświęcim</a>, <a href="https://publications.waset.org/abstracts/search?q=Poland" title=" Poland"> Poland</a>, <a href="https://publications.waset.org/abstracts/search?q=women%E2%80%99s%20orchestra" title=" women’s orchestra "> women’s orchestra </a> </p> <a href="https://publications.waset.org/abstracts/102510/the-womens-orchestra-and-music-in-auschwitz-birkenau-a-qualitative-study-on-nazi-manipulation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102510.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">185</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">103</span> “A Built-In, Shockproof, Shit Detector”: Major Challenges and Peculiarities of Translating Ernest Hemingway’s Short Stories Into Georgian</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Natia%20Kvachakidze">Natia Kvachakidze</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Translating fiction is a complicated and multidimensional issue. However, studying and analyzing literary translations is not less challenging. This becomes even more complex due to the existence of several alternative translations of one and the same literary work. However, this also makes the research process more interesting at the same time. The aim of the given work is to distinguish major obstacles and challenges translators come across while working on Ernest Hemingway’s short fiction, as well as to analyze certain peculiarities and characteristic features of some existing Georgian translations of the writer’s work (especially in the context of various alternative versions of some well-known short stories). Consequently, the focus is on studying how close these translations come to the form and the context of the original text in order to see if the linguistic and stylistic characteristics of the original author are preserved. Moreover, it is interesting not only to study the relevance of each translation to the original text but also to present a comparative analysis of some major peculiarities of the given translations, which are naturally characterized by certain strengths and weaknesses. The latter is at times inevitable, but in certain cases, there is room for improvement. The given work also attempts to humbly suggest certain ways of possible improvements of some translation inadequacies, as this can provide even more opportunities for deeper and detailed studies in the future. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hemingway" title="Hemingway">Hemingway</a>, <a href="https://publications.waset.org/abstracts/search?q=short%20fiction" title=" short fiction"> short fiction</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a>, <a href="https://publications.waset.org/abstracts/search?q=Georgian" title=" Georgian"> Georgian</a> </p> <a href="https://publications.waset.org/abstracts/154115/a-built-in-shockproof-shit-detector-major-challenges-and-peculiarities-of-translating-ernest-hemingways-short-stories-into-georgian" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154115.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">88</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">102</span> Lexico-Semantic and Contextual Analysis of the Concept of Joy in Modern English Fiction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zarine%20Avetisyan">Zarine Avetisyan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Concepts are part and parcel of everyday text and talk. Their ubiquity predetermines the topicality of the given research which aims at the semantic decomposition of concepts in general and the concept of joy in particular, as well as the study of lexico-semantic variants as means of realization of a certain concept in different “semantic settings”, namely in a certain context. To achieve the stated aim, the given research departs from the methods of componential and contextual analysis, studying lexico-semantic variants /LSVs/ of the concept of joy and the semantic signs embedded in those LSVs, such as the semantic sign of intensity, supporting emotions, etc. in the context of Modern English fiction. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=concept" title="concept">concept</a>, <a href="https://publications.waset.org/abstracts/search?q=context" title=" context"> context</a>, <a href="https://publications.waset.org/abstracts/search?q=lexico-semantic%20variant" title=" lexico-semantic variant"> lexico-semantic variant</a>, <a href="https://publications.waset.org/abstracts/search?q=semantic%20sign" title=" semantic sign"> semantic sign</a> </p> <a href="https://publications.waset.org/abstracts/67474/lexico-semantic-and-contextual-analysis-of-the-concept-of-joy-in-modern-english-fiction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67474.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">354</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">101</span> Occasional Word-Formation in Postfeminist Fiction: Cognitive Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kateryna%20Nykytchenko">Kateryna Nykytchenko</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Modern fiction and non-fiction writers commonly use their own lexical and stylistic devices to capture a reader’s attention and bring certain thoughts and feelings to his reader. Among such devices is the appearance of one of the neologic notions – individual author’s formations: occasionalisms or nonce words. To a significant extent, the host of examples of new words occurs in chick lit genre which has experienced exponential growth in recent years. Chick Lit is a new-millennial postfeminist fiction which focuses primarily on twenty- to thirtysomething middle-class women. It brings into focus the image of 'a new woman' of the 21st century who is always fallible, funny. This paper aims to investigate different types of occasional word-formation which reflect cognitive mechanisms of conveying women’s perception of the world. Chick lit novels of Irish author Marian Keyes present genuinely innovative mixture of forms, both literary and nonliterary which is displayed in different types of occasional word-formation processes such as blending, compounding, creative respelling, etc. Crossing existing mental and linguistic boundaries, adopting herself to new and overlapping linguistic spaces, chick lit author creates new words which demonstrate the result of development and progress of language and the relationship between language, thought and new reality, ultimately resulting in hybrid word-formation (e.g. affixation or pseudoborrowing). Moreover, this article attempts to present the main characteristics of chick-lit fiction genre with the help of the Marian Keyes’s novels and their influence on occasionalisms. There has been a lack of research concerning cognitive nature of occasionalisms. The current paper intends to account for occasional word-formation as a set of interconnected cognitive mechanisms, operations and procedures meld together to create a new word. The results of the generalized analysis solidify arguments that the kind of new knowledge an occasionalism manifests is inextricably linked with cognitive procedure underlying it, which results in corresponding type of word-formation processes. In addition, the findings of the study reveal that the necessity of creating occasionalisms in postmodern fiction novels arises from the need to write in a new way keeping up with a perpetually developing world, and thus the evolution of the speaker herself and her perception of the world. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chick%20Lit" title="Chick Lit">Chick Lit</a>, <a href="https://publications.waset.org/abstracts/search?q=occasionalism" title=" occasionalism"> occasionalism</a>, <a href="https://publications.waset.org/abstracts/search?q=occasional%20word-formation" title=" occasional word-formation"> occasional word-formation</a>, <a href="https://publications.waset.org/abstracts/search?q=cognitive%20linguistics" title=" cognitive linguistics"> cognitive linguistics</a> </p> <a href="https://publications.waset.org/abstracts/76595/occasional-word-formation-in-postfeminist-fiction-cognitive-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/76595.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">181</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">100</span> A Voice Retrieved from the Holocaust in New Journalism in Kazuo Ishiguro's the Remains of the Day</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Masami%20Usui">Masami Usui</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Kazuo Ishiguro’s The Remains of the Day (1989) underlines another holocaust, an imprisonment of human life, dignity, and self in the globalizing sphere of the twentieth century. The Remains of the Day delineates the invisible and cruel space of “lost and found” in the postcolonial and post-imperial discourse of this century, that is, the Holocaust. The context of the concentration camp or wartime imprisonment such as Auschwitz is transplanted into the public sphere of modern England, Darlington Hall. The voice is retrieved and expressed by the young journalist and heir of Darlington Hall, Mr. David Cardinal. The new media of journalism is an intruder at Darlington Hall and plays a role in revealing the wrongly-input ideology. “Lost and Found” consists of the private and public retrieved voices. Stevens’ journey in 1956 is a return to the past, especially the period between 1935 and 1936. Lost time is retrieved on his journey; yet lost life cannot be revived entirely in his remains of life. The supreme days of Darlington Hall are the terrifying days caused by the Nazis. Fascism, terrorism, and militarism destroyed the wholesomeness of the globe. Into blind Stevens, both Miss Kenton and Mr. Cardinal bring out the common issue, that is, the political conflicts caused by Nazis. Miss Kenton expresses her own ideas against anti-Semitism regarding the Jewish maids in the crucial time when Sir Oswald Mosley’s Blackshirts organization attacked the Anglo Jews between 1935 and 1936. Miss Kenton’s half-muted statement is reinforced and assured by Cardinal in his mention of the 1934 Olympic Rally threatened by Mosley’s Blackshirts. Cardinal’s invasion of Darlington Hall embodies the increasing tension of international politics related to World War II. Darlington Hall accommodates the crucial political issue that definitely influences the fate of the house, its residents, and the nation itself and that is retrieved in the newly progressive and established media. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=modern%20English%20literature" title="modern English literature">modern English literature</a>, <a href="https://publications.waset.org/abstracts/search?q=culture%20studies" title=" culture studies"> culture studies</a>, <a href="https://publications.waset.org/abstracts/search?q=communication" title=" communication"> communication</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a> </p> <a href="https://publications.waset.org/abstracts/26270/a-voice-retrieved-from-the-holocaust-in-new-journalism-in-kazuo-ishiguros-the-remains-of-the-day" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26270.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">574</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=holocaust%20fiction&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=holocaust%20fiction&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=holocaust%20fiction&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=holocaust%20fiction&page=5">5</a></li> <li class="page-item"><a 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