Thematische Bibliographien / King, Stephen, Riddles in literature

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Auswahl der wissenschaftlichen Literatur zum Thema „King, Stephen, Riddles in literature“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 16. Februar 2022

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Zeitschriftenartikel zum Thema "King, Stephen, Riddles in literature"

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McAleer, Patrick. „Stephen King: Uncollected, Unpublished“. Journal of Popular Culture 40, Nr. 5 (Oktober 2007): 892–93. http://dx.doi.org/10.1111/j.1540-5931.2007.00466.x.

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Magistrale, Tony, und Michael J. Blouin. „The Vietnamization of Stephen King“. Journal of American Culture 42, Nr. 4 (Dezember 2019): 287–301. http://dx.doi.org/10.1111/jacc.13092.

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Punter, David. „Stephen King problems of recollection and construction“. Lit: Literature Interpretation Theory 5, Nr. 1 (Juni 1994): 67–82. http://dx.doi.org/10.1080/10436929408580127.

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Raw, Laurence. „Stephen King on the Big Screen“. Journal of Popular Culture 43, Nr. 4 (19.07.2010): 901–3. http://dx.doi.org/10.1111/j.1540-5931.2010.00776_2.x.

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Höglund, Johan. „Cell, Stephen King and the Imperial Gothic“. Gothic Studies 17, Nr. 2 (November 2015): 69–87. http://dx.doi.org/10.7227/gs.17.2.5.

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Egan, James. „Sacral Parody in the Fiction of Stephen King“. Journal of Popular Culture 23, Nr. 3 (Dezember 1989): 125–41. http://dx.doi.org/10.1111/j.0022-3840.1989.00125.x.

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Fraser, Russell. „King Lear, Macbeth, Indefinition, and Tragedy. Stephen Booth“. Modern Philology 83, Nr. 4 (Mai 1986): 423–28. http://dx.doi.org/10.1086/391502.

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Claverie, Ezra. „Doing Stephen King “Right”: Wilmywood and the Industrial Auteur“. Journal of Popular Culture 47, Nr. 5 (Oktober 2014): 1030–46. http://dx.doi.org/10.1111/jpcu.12187.

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Allan, Angela S. „Stephen King, Incorporated: Genre Fiction and the Problem of Authorship“. American Literary History 33, Nr. 2 (11.02.2021): 271–97. http://dx.doi.org/10.1093/alh/ajab002.

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Abstract This essay examines Stephen King’s career in relation to the evolving literary status of genre fiction. Following the financialization of the publishing industry, genre fiction became one of its most profitable forms. As a result, agents and houses sought to invest in brand-name authors who could attract a mass-market readership based on reputation alone. While this development helped turn King into one of the most successful novelists of the late twentieth century, it also provided an opportunity to engage with questions about authorial autonomy, the demands of the market, and the mediating force of publishers in his own work. Novels like Misery (1984) and the “Dark Tower” series (1982–2004)—explicitly centered on the writing of genre fiction—articulate a model of authorial professionalism built upon the metaphor of the corporation. Understanding genre as a corporate form need not be grounds for critical dismissal, but can instead serve a critical purpose. Genre fiction, this essay argues, functions as a mechanism for confronting the economic conditions and expectations of the contemporary publishing industry and its impact on literary production.
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Lang, Pat. „Dissecting Stephen King: From the Gothic to Literary Naturalism“. Journal of American Culture 29, Nr. 2 (Juni 2006): 235. http://dx.doi.org/10.1111/j.1542-734x.2006.00342.x.

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Dissertationen zum Thema "King, Stephen, Riddles in literature"

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Loman, Jennifer Dempsey. „Anglo-Saxon the key to Stephen King's The Dark Tower /“. [Chico, Calif. : California State University, Chico], 2009. http://hdl.handle.net/10211.4/95.

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Sundlöf, Sten-Ove. „Stilstudie - Katherine Mansfield och Stephen King“. Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-160257.

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In this essay I will present a stylestudy of he New Zeeland born author Katherine Mansfield, 1888 - 1923 and american master of horror, Stephen King, born 1947. The main focus is to analyze how they use the literary tools of time, place and focalisation and to make a literary experiment where I practise the learnings I have made.  I will try to answer how the authors use time, place and focalisation in the novels? In my literary experiment, can I find the differences and similarities? I have studied two shortstorys: Katherine Mansfields The Garden Party and from Stephen King, 1922.I read my first short story from Mansfield and King more than twenty years ago and over the years they have stayed in my memory as strong and positive experiences of reading. My aim is to learn more about the author's style with special attention to time, place and focalisation.  The tools for this is studies of their works in connection to these three concepts and a literary experiment where I try to mimic the authors. In this my work I have found similarities and differencies between the two authors. Differencies coming from the different times when they write: Mansfield from early 1900  modernism and romanticism and King contemporary literature and horror. I have deepened my understanding of place and time and captured new knowledge about focalization, a term that was new to me as I started the course. Both authors write chronologically over different timespace (one day and a decade). They use dialogue, both internal and external. They switch between external nd internal/varied internal focalization wich makes the novels fascinating and intriguing. I have found that is is possible to cross the style of the tho authors and create a credible story.
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Putman, Mark. „Three Sources of Fear in the Works of Stephen King“. The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1389618624.

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Guthrie, James Ronald. „Three decades of terror domestic violence, patriarchy, and the evolution of female characters in Stephen King's fiction /“. Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/guthrie.pdf.

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Thesis (M.A.)--University of Alabama at Birmingham, 2009.
Title from PDF title page (viewed Sept. 2, 2009). Additional advisors: Rebecca Bach, Danny Siegel, Becky Trigg. Includes bibliographical references (p. 103-107).
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Pak, Chiu-shuen Tom. „Stephen King's popular Gothic Gothic meta-fiction, ideology, scatology and (re)construction of community /“. Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37844325.

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Napier, Will. „The haunted house of memory in the fiction of Stephen King“. Thesis, University of Glasgow, 2008. http://theses.gla.ac.uk/516/.

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The purpose of this thesis is to explore a set of key issues and themes in the fiction of Stephen King, and then to present, in the form of a creative extract, a demonstration of an imaginative engagement with those same literary preoccupations mapped out in that opening critical section. This thesis is thus divided into two parts. The first part, 'Critical Encounters', explores through an interconnected series of close readings a selection of novels and novellas that circle around questions of suffering and survival. Chapter One, 'Monsters by Design', looks closely at Carrie (1974), The Shining (1977), and Misery (1987), among other texts, in order to define King's human monsters and investigate the episodes of domestic violence that are among his most terrifying scenes. Chapter Two, 'Retrospection of Abuse', uses 'The Body', a novella in Different Seasons (1982), as a core text to examine King's use of abuse and abusive characters as a means of defining character and assigning motivation for further violent tendencies. Chapter Three, 'Remorse and Resurrection', examines the influence of science and religious faith in terms of mourning the loss of loved ones. Chapter Four, 'The Selfish Apparition', a detailed engagement with Bag of Bones (1998), delves into the meanings behind the appearance of ghostly apparitions and suggests they may be less para-psychological and more psychoanalytical in nature. The second part, 'Creative Engagement', demonstrates the influence King's writing has had on my own work by providing an extract from a new novel, Without Warning, a sequel to my first book, Summer of the Cicada (Jonathan Cape, 2005). Without Warning is a unique experiment for me, as it has been written not only in the wake of the literary works of King - which have long exerted an influence on me as a writer and as one of his 'constant readers' - but in the light of a sustained period of research and reflection on King as a writer. Being in the midst of a critical and creative immersion in King, including his own accounts of his craft as well as interviews and essays by other scholars, has shaped my writing and made me mediate on my craft in a way I had not done before. This thesis then is both a study of aspects of the fiction of one of America's foremost storytellers, and an example of an emerging writer grappling with the fiction and criticism of a major influence.
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Snyder, Stephen J. „An examination of the American myth, its implications of Adamic rebirth, societal conflict and retreat, and its application to Stephen King's The stand“. Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1994. http://www.kutztown.edu/library/services/remote_access.asp.

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Beal, Kimberly S. „“Sometimes Being a Bitch is All a Woman Has”: Stephen King, Gothic Stereotypes, and the Representation of Women“. Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1338385036.

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Ross, Ronald J. III. „The Pragmatist Canon: Rethinking Literature in the Classroom“. Wittenberg University Honors Theses / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1242224971.

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Turnage, Rachel Anne. „Finding the faces of our mothers every day feminism in Stephen King's "Dolores Claiborne" and "Gerald's game" /“. Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/turnage/TurnageR0506.pdf.

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Bücher zum Thema "King, Stephen, Riddles in literature"

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King, Stephen. Huang yuan: The waste land / Stephen King. Shanghai: Shanghai wen yi chu ban she, 2013.

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Stefoff, Rebecca. Stephen King. New York: Marshall Cavendish Benchmark, 2010.

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Stephen King. New York: Marshall Cavendish Benchmark, 2011.

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Baughan, Michael Gray. Stephen King. New York: Chelsea House, 2009.

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Marjorie, Keyishian, Hrsg. Stephen King. New York: Chelsea House, 1996.

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Wukovits, John F. Stephen King. San Diego, CA: Lucent Books, 1999.

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Stephen King. San Diego, CA: Lucent Books, 1999.

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Parish, James Robert. Stephen King: Author. New York: Ferguson, 2005.

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Stephen King: King of thrillers and horror. Berkeley Heights, NJ: Enslow Publishers, 2000.

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Stephen King et le sexe. Pantin [France]: Editions Naturellement, 1999.

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Buchteile zum Thema "King, Stephen, Riddles in literature"

1

Burger, Alissa. „Gazing Upon “The Daemons of Unplumbed Space” with H. P. Lovecraft and Stephen King: Theorizing Horror and Cosmic Terror“. In New Directions in Supernatural Horror Literature, 77–97. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95477-6_5.

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Brown, Simon. „The Short (and Bloody) History of EC“. In Creepshow, 33–42. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325918.003.0003.

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This chapter traces the history of the EC comics that inspired George A. Romero's Creepshow (1982). The origins of EC can be traced to the beginnings of the American comic book at the start of the 1930s. For all the EC horror titles that ran for only four years from 1950 to 1954 before finally being quashed by the establishment, their legacy, and their importance to both comic book and horror history, is undeniable. Through their political and social messages and their uncompromising images, they were an important site for subversion for American youth in a period which stressed conformity. Some of those American youth, like Stephen King and Romero, would grow up to become significant figures in American horror films and literature, and bring the influence of EC into the genre.
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„Kalasiris, however, is no more a straightforward narrator than is Heliodoros.12 In fact, he comments himself (2.24.5) on the appar­ ently tricksy quality of his story-telling. By the time he tells Charikleia’s story to Knemon, Kalasiris has long known her to be the natural daughter of the King and Queen of Ethiopia, exposed by her mother at birth because of her white skin, but he suppresses this knowledge so that Knemon (and through him the reader) can actively participate in the discovery. First he learns (through a reported narrative, 2.30ff.) that she is only the adopted daughter of her ostensible father, Charikles, the priest of Apollo, and how she came to be adopted. Then (2.35) he is granted an enigmatic prophecy by the Delphic oracle, and visited in his sleep (3.11) by Apollo and Artemis who tell him to take the young lovers with him to Egypt and onwards. Assisting their love against Charikles’ wishes through a complex and duplicitous intrigue, he eventually tricks Charikles into allowing him to see the embroidered band exposed with her, a message from the Ethiopian queen to her abandoned child.13 The performance of Kalasiris is in many ways emblematic of the whole novel, intensely self-aware, theatrical, manipulative, enigmatic. He is the focus where the roles of author and reader intersect. Like the reader he has to make speculative sense out of cryptic fragments of information, and like the author he employs less than complete release of information to puzzle and please his audience; he is both a solver and setter of riddles. But his narrative does not resolve all the ambiguities it poses. The obscure oracle is in fact a predictive armature around which the whole future course of the plot is built.14 Some elements of it are obvious and others are resolved by Kalasiris, but it also looks beyond his death to the very end of the novel. It is another large-scale riddle, whose answers are supplied by the course of the story itself. Its last couplet, which predicts that the lovers will: . . . reap the reward of those whose lives are passed in virtue: A crown of white on brows of black only receives full explication in the last sentence of the work, when Theagenes and Charikleia, now formally to be married and honorary Ethiopians (hence the brows of black), don the white mitres of the High Priest of the Sun and High Priestess of the Moon in Ethiopia. In the interim, it has served to elicit deliberately misguided guesses about the ending of the novel, for example as the terms of its prophecy appear to be fulfilled in the human“. In Greek Literature in the Roman Period and in Late Antiquity, 328. Routledge, 2014. http://dx.doi.org/10.4324/9780203616895-43.

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