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Bram Stoker’s Dracula and Video Game Narratives: Pandemic Themes in Covid Times Bram Stoker的《德古拉》和电子游戏叙事:新冠时代的流行主题
IF 0.1 0 LITERATURE Pub Date : 2022-09-01 DOI: 10.12697/il.2022.27.1.5
Vanessa L. Haddad
This article explores the relationship between Bram Stoker’s Dracula, and its influence on video game narratives. Video game sales have increased significantly since the beginning of the Covid-19 pandemic. The influence of Stoker’s Dracula and the narratives of vampire and pandemic video games is important, since some popular games are explicitly centred around pandemics and vampires, and are being played during the Covid-19 pandemic. The article explores the historical connection between epidemics and the vampire myth, and how that influenced the narrative of Dracula, especially the connection between the influence of cholera and his upbringing in Ireland. It then examines how the narrative has been influential in video game narratives. Finally, the article touches on how video games with pandemic themes may be used by a player to find a sense of control, explore difficult narratives in a structured environment, and explore various points of view and catharsis.
本文探讨了布拉姆·斯托克的《德古拉》及其对电子游戏叙事的影响。自新冠肺炎疫情开始以来,电子游戏销量大幅增长。斯托克的《德古拉》以及吸血鬼和流行病视频游戏的叙事的影响很重要,因为一些流行游戏明确以流行病和吸血鬼为中心,并且在新冠肺炎大流行期间播放。这篇文章探讨了流行病和吸血鬼神话之间的历史联系,以及这是如何影响德古拉的叙事的,特别是霍乱的影响和他在爱尔兰的成长之间的联系。然后,它考察了叙事在电子游戏叙事中的影响力。最后,这篇文章谈到了玩家如何利用疫情主题的电子游戏来寻找控制感,在结构化的环境中探索困难的叙事,并探索各种观点和宣泄。
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引用次数: 0
Paralipomena of a Pandemic 流行病的副现象
IF 0.1 0 LITERATURE Pub Date : 2022-09-01 DOI: 10.12697/il.2022.27.1.8
Roberto Marchesini
The pandemic, which has affected the whole world and has many victims, changing our lifestyle and having its own narrative structure that would be interesting to retrace. Undoubtedly, despite science fiction getting us used to dystopian and apocalyptic scenarios, the sudden epidemiological emergency caught us unprepared. We could hardly have thought of suddenly giving up habits that we considered consolidated, such as being able to travel, meet friends, gather in public places, go to a restaurant, go to school. The pandemic suddenly cancelled all of this. But what caused this pandemic? Perhaps a simple virus from an Asian wet market? Perhaps the extreme connectivity of the human network? Perhaps the ecological alterations we have caused? Or is the pandemic the result of a deeper cultural crisis?
这种流行病影响了整个世界,有许多受害者,改变了我们的生活方式,并有自己的叙述结构,回顾起来会很有趣。毫无疑问,尽管科幻小说让我们习惯了反乌托邦和世界末日的场景,但突如其来的流行病紧急情况让我们措手不及。我们几乎不可能想到突然放弃那些我们认为已经巩固的习惯,比如能够旅行、会见朋友、在公共场所聚会、去餐馆、上学。大流行突然取消了这一切。但是什么导致了这场大流行?也许是来自亚洲菜市场的简单病毒?也许是人类网络的极端连接?也许是我们造成的生态改变?或者,这场流行病是更深层次文化危机的结果?
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引用次数: 0
Facing the Black Death: Sigrid Undset’s Kristin Lavransdatter in Times of Pandemics 直面黑死病:Sigrid Undset的Kristin Lavransdatter在大流行病时代
IF 0.1 0 LITERATURE Pub Date : 2022-09-01 DOI: 10.12697/il.2022.27.1.6
Sissel Furuseth
At the end of Sigrid Undset’s medieval trilogy Kristin Lavransdatter (1920–1922), the heroine encounters the bubonic plague that so violently hit Europe in the mid-fourteenth century. The aim of this paper is to explore the connections between the 20th century novel and the European tradition of plague literature from the broader perspective of environmental history. Furthermore, it discusses the historical novel’s effect as a distant mirror for 20th and 21st century readers. An underlying argument is that the ethical imperative in Kristin Lavransdatter is affecting the way the protagonist encounters the plague, which may explain what distinguishes Undset from many of her contemporaries.
在Sigrid Undset的中世纪三部曲Kristin Lavransdatter(1920–1922)的结尾,女主角遇到了14世纪中期猛烈袭击欧洲的黑死病。本文的目的是从更广阔的环境史视角探讨20世纪小说与欧洲瘟疫文学传统之间的联系。此外,它还讨论了历史小说作为20世纪和21世纪读者的一面遥远的镜子的作用。一个潜在的论点是,Kristin Lavransdatter中的道德义务正在影响主人公遭遇瘟疫的方式,这可能解释了Undset与许多同时代人的区别。
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引用次数: 0
Rituals of Coexistence: Bodies and Technology during Pandemics 共存的仪式:流行病期间的身体和技术
IF 0.1 0 LITERATURE Pub Date : 2022-09-01 DOI: 10.12697/il.2022.27.1.9
Yvonne Förster
Pandemics not only challenge health systems and the economy, they also deeply transform our everyday lives and the ways in which we coexist. People have to find new definitions of what it means to be close to one another, to show empathy and to comfort each other. With social distancing, we must learn how to use digital technologies to create novel forms of closeness. Viruses becomes the new other, alien forces that invisibly permeate social life. They find hosts predominantly in the places where humans get close to each other. Rituals such as eating, drinking, and dancing are the links that hold an otherwise largely disembodied culture together. I will combine a perspective on human cognitive evolution as an embodied process, the hedonist drive towards bodily encounter in Sigmund Freud’s sense and the development of technology and the current tendency toward a culture of disembodiment. The article asks what the role of bodily ritual is in public space. Here I will argue that this is a vital role because it is the only way to create feelings of resonance and connectedness amongst larger groups of people. The pandemic prohibits these rituals, so we need to ask further: Does the pandemic lead to new forms of being together? This is closely linked to the accelerated development of technology. The more precise question is: Does technology afford new forms of embodiment? My aim is to introduce ideas of philosophical posthumanism to think in a productive way about incorporating technology in order to satisfy human needs for contact and resonance.
大流行病不仅对卫生系统和经济构成挑战,而且还深刻改变了我们的日常生活和我们的共存方式。人们必须找到新的定义,来定义什么是彼此亲近,什么是表达同理心,什么是相互安慰。有了社交距离,我们必须学会如何利用数字技术创造新的亲密形式。病毒变成了一种新的他者,一种无形地渗透到社会生活中的外来力量。它们主要在人类相互接近的地方找到宿主。像吃、喝和跳舞这样的仪式是把一个基本上没有实体的文化联系在一起的纽带。我将把人类认知进化的观点作为一个具体化的过程,西格蒙德·弗洛伊德的享乐主义对身体接触的驱动,以及技术的发展和当前对分离文化的趋势结合起来。这篇文章提出了身体仪式在公共空间中的作用。在这里,我认为这是一个至关重要的角色,因为它是在更大的群体中创造共鸣和联系感的唯一途径。大流行禁止这些仪式,因此我们需要进一步问:大流行是否会导致新的聚会形式?这与技术的加速发展密切相关。更准确的问题是:技术是否提供了新的体现形式?我的目的是引入哲学后人文主义的思想,以一种富有成效的方式思考如何结合技术,以满足人类对接触和共鸣的需求。
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引用次数: 0
Physical Isolation and Viral Information in Mira Grant’s Newsflesh Stories 米拉·格兰特新闻报道中的物理隔离与病毒信息
IF 0.1 0 LITERATURE Pub Date : 2022-08-24 DOI: 10.12697/il.2022.27.1.4
Jenni G. Halpin
Set in the ongoing Kellis-Amberlee pandemic, Mira Grant’s zombie adventure series Newsflesh (2010–2016) conjoins knowledge-power with the physical and technological apparatuses of control for a group of narratives that place citizens against the government. The ongoing apocalypse is untenable, as exemplified in the radically constricted lives most people live in efforts to protect themselves from people or other mammals who have been transformed into zombies by the virus. This constriction, and therefore the extension of government framing of the pandemic as a crisis condition, consolidates power in the hands of a CDC (Centers for Disease Control and Prevention) that is actively and secretly working to eliminate human adaptive responses to the virus. “Physical Isolation and Viral Information in Mira Grant’s Newsflesh” explores the connections between knowledge, scientific authority, physical distancing, and collective action. Given the figural power of zombies, the apparatuses for control of the vulnerable and dangerous bodies in this uncontrolled pandemic substitute – and obscure the need for – widespread sharing not only of facts but of understanding the implications of those facts. Two decades of misinformation and fear campaigns, in Newsflesh, trampled the legacy of “the Rising” and transformed the survivors from collective actors who shared what they learned in their attempts to stay alive into fearful isolationists who lack the knowledge to exercise power or enact community. The abuses of power discovered by the characters in these texts point to possible ways of not merely surviving but of living amid the zombie pandemic.
米拉·格兰特的僵尸冒险系列《新闻之肉》(2010-2016)以正在进行的凯利斯·安伯利疫情为背景,将知识力量与物理和技术控制装置结合在一起,形成了一组将公民与政府对立起来的叙事。正在进行的世界末日是站不住脚的,正如大多数人为了保护自己免受被病毒变成僵尸的人或其他哺乳动物的伤害而极度紧缩的生活所证明的那样。这种限制,以及政府将新冠疫情视为危机状态的延伸,巩固了美国疾病控制与预防中心(CDC)手中的权力,该中心正积极而秘密地致力于消除人类对病毒的适应性反应。“米拉·格兰特新闻中的物理隔离和病毒信息”探讨了知识、科学权威、物理距离和集体行动之间的联系。考虑到僵尸的象征性力量,在这场不受控制的疫情中,控制脆弱和危险身体的装置不仅取代了广泛分享事实,也掩盖了理解这些事实含义的必要性。20年来,《新闻之肉》的错误信息和恐惧运动践踏了“崛起”的遗产,将幸存者从分享他们在努力生存过程中学到的东西的集体行动者转变为缺乏行使权力或建立社区知识的恐惧的孤立主义者。这些文本中的人物发现的滥用权力行为不仅指向了生存的可能方式,也指向了在僵尸疫情中生活的可能方式。
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引用次数: 0
Gothic Elements in Representations of a Pandemic: Borislav Pekic’s Rabies 流行病表现中的哥特式元素:博里斯拉夫·佩基奇的《狂犬病》
IF 0.1 0 LITERATURE Pub Date : 2022-08-24 DOI: 10.12697/il.2022.27.1.3
Ana Kocić Stanković, M. Mitić
The paper deals with the Gothic elements in the representation of a pandemic based on the 1983 novel Besnilo (‘Rabies’) by Serbian author Borislav Pekic. The authors start from the premise that the elements ‘borrowed’ from the Gothic genre play a key role in creating the main plot of the novel: a catastrophe caused by an extremely contagious and deadly man-manipulated version of the rabies virus. The theoretical framework is based on Fred Botting’s (1995) and Jerrold E. Hogle’s (2002) views of Gothic writing as a diffused mode that exceeds genres and categories and contributes its various elements to various literary forms. Furthermore, Gothic elements characteristic of Gothic science fiction, such as madness, monstrosity, the Mad Scientist, people meddling with nature with catastrophic consequences, the apocalyptic vision of human future and “the removal of man from his natural, living state and entry instead into a state of being neither completely human or monster, and neither fully alive or completely dead” (MacArthur 2015: 79) are traced in the novel and analysed in the context of literary representations of a pandemic. As Pekic’s novel is a mixture of various genres and is often defined and described as a horror thriller novel, an attempt is made to offer a new reading that would consider its constituent Gothic elements against a backdrop of the deeply and inherently human drama of the everlasting struggle between good and evil. Thus, pandemics are represented as a kind of catalyst that exposes both deeply human and rational, and deeply inhuman and irrational, impulses, leaving the final outcome of that struggle uncertain.
本文讨论了塞尔维亚作家鲍里斯拉夫·佩基奇(Borislav Pekic)于1983年出版的小说《狂犬病》(Besnilo)所描绘的大流行中的哥特式元素。作者从一个前提出发,即从哥特式小说中“借用”的元素在小说的主要情节中发挥了关键作用:一场由一种极具传染性和致命的人为狂犬病病毒引起的灾难。理论框架是基于Fred Botting(1995)和Jerrold E. Hogle(2002)的观点,即哥特写作是一种超越类型和类别的扩散模式,并将其各种元素贡献给各种文学形式。此外,哥特式科幻小说的哥特式元素,如疯狂,怪物,疯狂的科学家,人们对自然的干预和灾难性的后果,人类未来的世界末日愿景,以及“将人从自然的生活状态中移除,进入一种既不是完全的人也不是怪物,既不是完全活着也不是完全死亡的状态”(MacArthur 2015):79)在小说中被追溯,并在大流行的文学表现的背景下被分析。由于Pekic的小说是多种体裁的混合体,通常被定义为恐怖惊悚小说,因此我们试图提供一种新的阅读方式,将其构成的哥特式元素与人类内心深处的善与恶之间永恒斗争的戏剧作为背景。因此,大流行病被描述为一种催化剂,它暴露了人性和理性、人性和非理性的冲动,使斗争的最终结果不确定。
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引用次数: 0
Introduction. Pandemics in the Western Literature and Culture (20th–21st centuries) 介绍。西方文学和文化的大流行(20 - 21世纪)
IF 0.1 0 LITERATURE Pub Date : 2022-08-24 DOI: 10.12697/il.2022.27.1.2
Peggy Karpouzou, Nikoleta Zampaki
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引用次数: 0
Who’s Afraid of the Werewolf? An Imagological View of Kitzberg’s Play 谁害怕狼人?基茨伯格戏剧的意象观
IF 0.1 0 LITERATURE Pub Date : 2021-12-31 DOI: 10.12697/il.2021.26.2.10
Anneli Niinre
Abstract. The archetypal fear of the other and the idea that it is safer to hold on to the familiar are the central topics discussed in one of the best plays in Estonian literature Libahunt (The Werewolf, 1912) by August Kitzberg (1855– 1927). Although the play was written at the beginning of the 20th century, it is still open to interpretation and has not lost its relevance. It is a play about conflict between values: the Tammaru family is conservative and afraid of strangers, of foreign blood, while one of their foster children Tiina is a free spirit whose appearance and nature is different from the family. She is not one of the villagers, she is an outsider and the family and the villagers are afraid of her. This stranger is seen as mysterious and dangerous – she is said to be a werewolf – and the xenophobic village casts her out. Using imagology as a theoretical basis, the article concentrates on the aspect of the foreigner and on fear of the other.
摘要对他人的原型恐惧和坚持熟悉的东西更安全的想法是奥古斯特·基茨伯格(1855–1927)在爱沙尼亚文学中最好的戏剧之一《利巴洪》(《狼人》,1912年)中讨论的中心话题。尽管该剧创作于20世纪初,但它仍然可以被解读,并没有失去相关性。这是一部关于价值观冲突的戏剧:Tammaru一家保守,害怕陌生人和外国血统,而他们的一个养子Tiina是一个自由的灵魂,他的外表和性质与这个家庭不同。她不是村民,她是一个局外人,家人和村民都害怕她。这个陌生人被认为是神秘而危险的——据说她是一个狼人——排外的村庄把她赶了出去。本文以意象学为理论基础,着重探讨外国人的一面和对他人的恐惧。
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引用次数: 0
Introduction: Texts and Theories of Travel 引言:旅游文本与理论
IF 0.1 0 LITERATURE Pub Date : 2021-12-31 DOI: 10.12697/il.2021.26.2.2
Shang-Lin Wu
Introduction: Texts and Theories of Travel  
引言:旅游文本与理论
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引用次数: 0
Writing Travel as Janus: Cultural Translation as Descriptive Category for Travel Writing 把旅行写成双面神:作为旅行写作描述范畴的文化翻译
IF 0.1 0 LITERATURE Pub Date : 2021-12-31 DOI: 10.12697/il.2021.26.2.6
Shang-Lin Wu
Abstract: The intersection of the study of travel writing and the study of translation produces two major perspectives: travel writing in translation and translation in travel writing. The first one looks into how the travel narrative is reshaped in a different linguistic and cultural context; the other looks into the translational character of the travel narrative, as the traveller is constantly moving between languages and cultures. Though the conceptual analogy between traveller and translator has been long noted, the linguistic dimension that marks the language difference in travel narrative is rarely underlined. In this essay, in order to explore the possibility of foregrounding both the conceptual link between travel and translation and the linguistic dimension of travel narrative, I propose to integrate an attention to language difference into a reinvention of the contested yet promising term ‘cultural translation’. The American writer Peter Hessler’s travel account Country Driving is cited as a case study.
摘要:旅行写作研究与翻译研究的交叉产生了两个主要视角:翻译中的旅行写作和旅行写作中的翻译。第一部分探讨了旅行叙事是如何在不同的语言和文化背景下重塑的;另一个研究旅行叙事的翻译特征,因为旅行者不断在语言和文化之间移动。尽管旅行者和译者之间的概念类比早已被注意到,但在旅行叙事中,标记语言差异的语言维度很少被强调。在这篇文章中,为了探索旅行与翻译之间的概念联系以及旅行叙事的语言维度的前景,我建议将对语言差异的关注融入对“文化翻译”这个有争议但有前景的术语的重新创造中。美国作家Peter Hessler的旅行账户Country Driving被引用为一个案例研究。
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引用次数: 0
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