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Scientific sensemaking is described in the context of studying a three-week, sixth-grade unit on the ecology and restoration of puffins living off the coast of Maine. Students engaged with a scientific adventure story, observed local bird species, used AI and webcam-facilitated tools, designed puffin burrows, and explored data sets about puffins. Students' ideas were elicited through discussion of the challenges faced by scientists who restored the puffins; sharing observations of chick-rearing behaviors from a webcam; critiquing and revising classmates' burrow designs; writing about bird behavior in response to prompts; poring over data to detect patterns in the long-term success of bird restoration; and training/testing AI for identification of puffins. This multiplicity of strategies effectively engaged students from a range of backgrounds, including those who were multilingual learners. This educational approach to scientific sensemaking through bird restoration is relevant and generalizable to students throughout the country, given the dwindling population sizes of many bird species nationwide. [ABSTRACT FROM AUTHOR]

The subject of the current article is Foucault's analysis of the ontology of the novel. This research provides an interdisciplinary reading indicating that the ontology of the novel is based on the deconstruction of home's concept: novel characters, unlike the heroic characters of Greek mythology and the Bible, constantly depart from home to discover the unknown realm of existence or a new dimension of humanity. There is a direct relationship between this transcendental homelessness and the novel's ontology. The results of the current research have shown that the conceptualization of home has yielded specific outcomes: 1. The novel has replaced similarity-based ethics with difference-based ethics. 2. Home is not a fixed and unchanging concept, but rather a construct. 3. The novel's adventure is a journey from the known to the unknown realms. 4. The novel is not in pursuit of utopia but rather maps out heterotopias as realms of diversity and abundance. The clear implication of this research is that the difference between the novel and the epic is not merely a genre difference but rather an ontological difference. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of the Institute of Ethnography of the Serbian Academy of Sciences & Arts / Glasnik Etnografskog Instituta SANU is the property of Institute of Ethnography, SASA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is devoted to the study of genre specificity, means of artistic modeling of the image of the main character, and the problemthematic section of Yu. Shcherbak's "The Time" trilogy as important poetic features of the contemporary antiutopia. The analysis was carried out using general scientific (analysis, synthesis, description) and special literary methods (biographical, genetic, imagological and hermeneutic). The research emphasizes the antiutopian dominant of "The Time" trilogy, which is combined with certain features of a political novel, cautionary novel, fiction (elements of science fiction), adventure novel, detective story, etc. It was found out that in his antiutopias Yu. Shcherbak creates his own model of the character of the future, whose leadership qualities, life experience and orientation to traditional Ukrainian values enabled spiritual renewal, contributed to finding one's place in the world and helped to become a winner in the eternal conflict "man-system". It was determined that the problem-thematic level of the novels is understood through the disclosure of the inner world of the main character with the help of monologues, dialogues, reflections, etc. In the trilogy, the "eternal" philosophical and topical problems of today are actualized. [ABSTRACT FROM AUTHOR]

The article "Ruodlieb, a Latin tale from the 11th century. An ancestor of the Grail story" presents the bilingual edition of the epic poem in Latin Ruodlieb, presented by Joël Thomas and Philippe Walter. The story narrates the adventures of a young feudal knight in the Middle Ages, highlighting his social ascent and his choice of wisdom over money. Ruodlieb is considered the first courteous hero and constitutes the oldest preserved European chivalric romance. The poem, composed in leonine hexameters, closed the cycle of Carolingian Latin epic and stands out for its originality and variety of themes. [Extracted from the article]

The following article concerns Polish reportage of 20th and 21st century. The discussion focuses on the elements of fiction genres transferred into a documentary form. One of such genres is what author calls a novel of the road. It comprises several kinds of old novel, like Greek and Roman adventure novels, Spanish, French and English rogue and picaresque novels, sentimental novels, some examples of chivalric romances with parody of Miguel de Cervantes. They can be divided into two variants: the one with the protagonist feeling strange in the space he travels through, and the other with the hero feeling a kinship with the surroundings (the latter is typical of the sentimental kind and some romantic poems based on the travel). A reportage usually consists of a mixture of both variants. It is discussed here by using examples taken from various periods in the history of Polish reportage: texts by Ksawery Pruszyński, Melchior Wańkowicz, Michał Choromański, Wanda Melcer, Ryszard Kapuściński, Krzysztof Kąkolewski, Jacek Hugo-Bader, Agnieszka Pajączkowska, and Michał Książek. The discussion concentrates on the fundamental features of those texts and contrasts them with the opposite model. What author particularly cares about are not only the formal differences, but also a specific worldview inscribed in reportage of the road, concerning subject, his or her knowledge, interrelations with the others, and setting in the world. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers ERTA is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on analyzing William Goldman's multifaceted career, encompassing his contributions to crime fiction, speculative fiction, and adventure fiction, while also exploring the themes and influences present in his work. It discusses Goldman's varied literary and cinematic output, highlighting potential areas for further research and critical examination.

The aim of this study is to present the basic context of literary research on popular literature in Slovakia, following studies by Věra Brožová (2008) and Jiří Hrabal (2022), looking specifically at the forms of 19th century Robinsonades, including Czech Robinsonades reprinted in Slovakia from the late 18th century through the 19th century. With the exception of a single edition of Pavel Šulc's adaptation, we know of no adaptations of Defoe's Robinson Crusoe in the Czech context to have been published in Slovak editions; this is surprising considering the popularity of the theme and rich history of Czech adaptations, and we believe that further investigation is required. This study therefore distinguishes between the 'Robinsonade' and 'folk Robinsonade', with respect to the different motivations for adapting Defoe's work in the context of Slovakian popular literature: that is, between the Robinsonade as a line started by the Czech translation of J. Campe's German adaptation Robinson der Jüngere (and subsequent adaptations by V. Kramerius's and others; the 'Czech Story' follows, for example, the aforementioned study by Hrabal), and various other works that draw instead on the success of Defoe's novel to create adventure stories based on the Robinson theme. The heroes of these stories -- Berthold, Ildegert, Spelhofen, and Engelbrecht -- are known from both Czech and Slovak editions. The results of this comparison, together with an examination of the factors that may have caused these changes at all investigated levels, are formulated as manifestations of specific forms of inter-literary reception, namely 'retellings' with omission and expansion (Robinson der Jüngere), and -- as examples of the 'folk Robinsonade' -- adaptation (Berthold), plagiarism (Ildegert), interliterary allusion (Spelhofen), and allusion (Engelbrecht). Changes in form are found to be directly proportional to the degree of application of the poetics of popular literature. [ABSTRACT FROM AUTHOR]

Copyright of Dacoromania Litteraria is the property of ACADEMIA ROMANA Filiala Cluj-Napoca Institutul de Lingvistica si Istorie Literara "Sextil Puscariu" and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Chilena de Antropologia is the property of Universidad de Chile and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This case study focuses on the changes that took place between the magazine and the book editions of Václav Kubec's novel. For the book edition, the author updated and significantly changed the text in line with the new political situation in 1938. This textual strategy disrupts the commonly established understanding of popular literature, whereby a certain textual apathy on the part of the authors is highlighted as one of the typical elements. This study points to the transformations in the text as well as to the transformations in the genre segment typical of the period (adventure novels in an aviation setting). [ABSTRACT FROM AUTHOR]

This article examines a forgotten nineteenth-century boys' adventure novel, Peter the Whaler (1851), written by William Henry Giles Kingston. After briefly introducing the author and his changing fortune, the article focuses on two specific aspects of Peter the Whaler, namely, its generic complexity and its thought-provoking representation of Inuit characters. A first aspect taken into account is the remarkable generic hybridity of Kingston's novel, which sheds light on the complex narrative experimentation conducted by Victorian writers and, especially, on their development and commercialisation of popular forms, such as the juvenile adventure novel. Besides merging realism with romance, Kingston makes an interesting use of gothic paraphernalia, and he combines elements of adventure fiction with a religious discourse that marks the distinction of his whole oeuvre. Worthy of attention are also the novel's pictures of Inuit people and culture. These pictures contrast with the racial assumptions endorsed by Victorian anthropologists and writers, including Charles Dickens, who famously disparaged Inuit testimonies in his 1854 articles to defend John Franklin and his men from allegations of cannibalism. The comparison between Kingston and Dickens offered in the article confirms the innovativeness of the ethnocultural encounters narrated in Peter the Whaler, suggesting further reasons why this novel deserves to be rediscovered and reinterpreted in our age. [ABSTRACT FROM AUTHOR]

The dystopian character of Joca Reiners Terron's A morte e o meteoro (2019) is indissociable from its critique of colonialism. But while the novel makes frequent references to the violent methods of exploitation that characterized American colonization, it mostly relies on allusions to different literary traditions--including gothic fiction, the adventure novel, and science fiction--in its depiction of colonialism. The dialogue with Heart of Darkness plays a significant role in A morte e o meteoro, which to a large extent is a critical rereading of Conrad's novella. This article examines how this appropriation of textual and cultural paradigms shapes the dystopian outlook of the novel, while also offering alternatives to the hopelessness that defines its fictional world. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is a study of contemporary audio fiction for children in Sweden, what is sometimes also called audio originals or born-audio books. Audio fiction is defined in the article as literature written to be recorded for audio and consumed through listening. It is a genre related to, and overlapping with, audiobooks, radio, and podcasts but obviously also with literature in printed books. While audio fiction has risen in production and popularity it is not a new phenomenon as such, but rather a kind of literature that has developed over time. The article gives historical examples of children's audio fiction and situates the contemporary production in a larger context of a changing media world and the book market for children's literature. The main examples used to understand the phenomenon are IJustWantToBeCool's Sommarjobbarna (The Summer Workers, 2020-2022) and Camilla Brinck's series on the mice Musse & Helium (2017-). These are the most popular audiobooks for children in the last years and both series as well as authors are linked to other media such as Youtube, podcast, print, and music. The theoretical conjectures derive from book history and sociology of literature, arguing that changing media for literature has direct implications for literary form, function, and dissemination. Methodologically the article is a genre study using Alastair Fowler's concept of genre as aggregated features. Thus, a comparison is made between the two examples and other formats such as children's print books, audiobooks, and radio drama as well as literary genres such as adventure fiction, melodrama, and slapstick. Furthermore, narrative aspects of the two audio literature examples are analyzed in terms of metafiction, voice, and sound effects. [ABSTRACT FROM AUTHOR]

The writer Petru Popescu (born 1944) entered Romanian literature in the late 1960s and almost immediately gained the interest of critics and readers. His novels were innovative not only in terms of bold themes but also of narrative strategies. This article focuses on Petru Popescu's work written in exile in English, i.e., from the late 1970s until 2009. His texts vary significantly, as Popescu tried his hand at several literary genres, from popular novels (Before and after Edith, In Hot Blood), travelogues (Amazon Beaming), adventure novels (Almost Adam), and adolescents' literature (Footprints in Time) to his memoir (The Return) and the more stylized memoir about his parents-in-law (The Oasis: A memoir of Love and Survival in a Concentration Camp). [ABSTRACT FROM AUTHOR]

Astrid Lindgren's Genre Equilibristics The paper examines genre strategies in a number of children's books by the well-known Swedish author, Astrid Lindgren. Drawing on the reception theories of Hans Robert Jauss, Aidan Chambers and Reinbert Tabbert, the paper demonstrates that the stormy reception of Pippi Longstocking (1945), prompted by a review by Professor John Landquist, had principally genrerelated grounds. The book made readers feel a sense of provocation because it challenged their archetextual horizon of expectations by evoking certain traditional genres and simultaneously twisting them in almost anarchic ways. In later books Astrid Lindgren makes a more elaborate use of classic genre structures. She generally chooses one well-known archetext as the generic dominant and allows it to interact with a set of other genres, thus calling forth the main aesthetic effect of the book from the archetextual dialogue between the dominant and the accompanying genres. The paper specifically investigates this polyphonic method in three of Lindgren's most popular books. In All about the Bullerby children (1947-52) the generic dominant is idyll and the subordinated archetexts satire, parody, burlesque, farce, fairy tale and ballad. Mio, my son (1954) can be considered as an artistic fairy tale (Kunstmärchen), this dominant genre correlating with some other interwoven archetexts: apocryphal gospel, myth, legend, heroic tale and idyll. Finally, the generic dominant of Ronia, the robber's daughter (1981) - a novel about the adventures of a band of robbers (Räuberroman) - finds its archetextual counterparts in folktale, popular legend, myth, burlesque, fantasy and Bildungsroman, among others. [ABSTRACT FROM AUTHOR]

The Artemis Fowl series (2001-2012) is described by its Irish author Eoin Colfer as "Die Hard with Fairies". Artemis Fowl is an-eight book series of adventures and supernatural actions. The starring character, Artemis Fowl, is a twelve-year-old criminal mastermind. His primary goal is to pursue money, which makes him kidnap the fairy leader. This results in a continuing fight between two worlds: Artemis's and the fairies'. The Fowl adventures present many themes, of which gendered discourses and actor representation inspire this research. This paper examines the eight-series child books via Corpus Linguistics apparatus. AntConc is a corpus analysis software utilized to generate wordlists of each book so that words with higher frequency may be investigated in their context of utterance via the concordance toolkit. The next step aims to detect the occurrence of search terms pertaining to gendered discourse and actor description. In this concern, the contributions presented by Tannen (1993, 1999), Edley (2001), Weatherall and Gallois (2003), Sunderland (2004), and Wetherell and Edley (2014) are considered in the detection of gendered language. Van Leeuwen's taxonomy (1996, 2008) of social actor representation is also considered to detect actor descriptions. Accordingly, the eight-series adventure novels are linguistically analyzed so that the main themes, gender identity markers and actor representation may be uncovered. The study supports the discursive psychologists' belief that gender is created and enhanced via discourse. The study is original in incorporating corpus linguistic toolkits, discursive psychology and discourse analysis to child Irish fantasy literature to expose the gendered-identities negotiated and the features representing social actors. [ABSTRACT FROM AUTHOR]

The essay proposes treating the critical category of retro as an interpretative key for Maryla Szymiczkowa’s ‘Kraków series.’ Stories about the adventures of Zofia Szczupaczyńska make us aware of the possibility of perceiving the past not only from the perspective of nostalgia, but also allowing to maintain a reflective distance to the presented world, modeled on 19th-century realities, historically attested. The confrontation of fictional reality and its historical prototype also allows to expose the phantasmatic character of visions of the past functioning in the collective imagination. Efforts aimed at beautifying history are replaced in retro by a critical, disillusioning look at the past times by focusing the artists’ attention on what in the collective imagination has so far been replaced as casting a shadow on the idyll of the ‘good old days’ (in Szymiczkowa’s cycle it is primarily a question of the emancipation of women, objectified in patriarchal culture). By ‘disenchanting’ taboos, retro-critical issues can fulfill a culturally and socially significant function as Geertz’s ‘confused species,’ allowing for articulation and understanding of social mechanisms regulating visions of this past. What draws attention is drawn to the multi-faceted nature of the deconstruction of socially functioning visions of the past: from axiology, inscribed in the presented world, through the poetics of stories imitating the 19th-century realistic novel, to the specificity of the communicative situation. [ABSTRACT FROM AUTHOR]

Cosmopolitan cities share similarities with historical frontiers, including potential opportunities for economic success, high social mobility, weakened traditional conventions, and adventure and novel experiences. Individuals with high independence typically prefer to settle in cosmopolitan cities. However, previous research testing this cosmopolitan settlement hypothesis did not consider the influence of relational mobility and residential mobility. Moreover, the mechanisms that drive people to prefer cosmopolitan cities remain unclear. This study examines the relationships among independence, relational mobility, residential mobility, and preference for cosmopolitan cities among 296 Chinese senior undergraduates. The results indicate that: (1) independence remains a positive predictor of the preference for cosmopolitan cities above and beyond relational mobility, residential mobility (i.e., history, state, and intention), and other covariates; (2) intention of residential mobility also positively predicts preference for cosmopolitan cities when controlling for related covariates; and (3) relational mobility indirectly predicts perceived preference for cosmopolitan cities through dependence. This research underscores the importance of identifying the factors and mechanisms affecting cosmopolitan settlement. [ABSTRACT FROM AUTHOR]

Copyright of Aura. Revista de Historia y Teoría del Arte is the property of Aura Revista de Historia y Teoria del Arte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Henry Rider Haggard, the famed author of adventure romances, wrote the novel Dr. Therne (1898) in response to weakening compulsory smallpox vaccination laws, thus entering one of the most heated debates of the late nineteenth century. With Dr. Therne, Haggard aimed to intervene in the lives of the many working-class anti-vaccinationists who, from the 1850s onwards, mobilised to evade what they perceived as a gross – and targeted – extension of state power at the expense of individual rights. Recovering the novel, which has not yet received scholarly attention from historians of medicine, reveals the way fiction was called upon to change minds during a crucial period of Victorian medicine, one that witnessed a climactic shift in public health intervention. This article will examine the reception of Dr. Therne in various print media – middle-class London papers, medical journals and working-class, anti-vaccinationist publications – to consider some new dynamics of the debate which the disagreement over Haggard's polemic exposes, including the perceived power of fiction (when properly priced and distributed) to change minds, and the contested role of the evangelical press. Additionally, a discussion of the different iterations of Dr. Therne , and a look at an exceptional anti-vaccinationist response in the form of a competing novel, illustrates that pro- and anti-vaccinationists alike contributed to a moment in late Victorian society when the role of fiction was considered a worthy contender in a debate ostensibly about fact. [ABSTRACT FROM AUTHOR]