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Relevant bibliographies by topics / Catch 22 (Heller)

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Academic literature on the topic 'Catch 22 (Heller)'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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Journal articles on the topic "Catch 22 (Heller)"

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JABBAR, SABAH SALIM. "Anti-Militarism in Joseph Heller's Catch-22." Al-Adab Journal, no. 114 (December 15, 2015): 1–14. http://dx.doi.org/10.31973/aj.v0i114.1368.

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The paper attempts to address Joseph Heller in his novel, Catch-22 (1961). An examination of the content of the novel in relation to antimilitaristic concepts is a major focus of the paper. The paper depicts various characters in the novel and tries to show how they reflect antimilitarism. The effects of particular behaviors and the major events that take place in the Air Force are discussed in the paper. The story mainly revolves around some airmen who were combatants in World War II. The events discussed in the paper clearly highlight the sentiments held by antimilitarists on war issues. The plot of the novel is sequential and the description of events is comic. The characters represent various characteristics that can be used to develop a plot on antimilitarism. The paper bases its literature of the aspects of the military that necessitate and justify the rise and development of antimilitarism. Socialism is a notable aspect of antimilitarism while militarism seems to conform to capitalism. From an antimilitaristic perspective, capitalism is characterized by a type of bureaucracy that demoralizes soldiers and promotes individuality within the military. Catch-22 deals with all the militaristic and antimilitaristic factors and events that lead to the same aspects.

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Svitlana, Shekhavtsova. "TECHNIQUES FOR CREATING A SITUATIVE SATIRIC EFFECT IN THE JOSEPH HELLER NOVEL “CATCH-22”." Scientific Bulletin of Kherson State University. Series Germanic Studies and Intercultural Communication, no. 1 (September 30, 2019): 269–74. http://dx.doi.org/10.32999/ksu2663-3426/2019-1-41.

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Thai, Anh Thu. "THE ABSURDITY OF HUMAN AND REALITY IN THE NOVEL “CATCH-22” OF JOSEPH HELLER." UED Journal of Social Sciences, Humanities and Education 10, no. 2 (July 1, 2020): 22–31. http://dx.doi.org/10.47393/jshe.v10i4.884.

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“Catch-22” is considered one of the American writer Joseph Heller’s greatest novels. It was published in 1961. Joseph Heller combined the irrational sensations, the mocking and satirical tones to describe a collapsed and degenerate world in the postmodern condition. Through the living background of an American military unit of World War II, the author reflected some absurd problems such as: the distortion of justice, the influence of greed, and the issue of personal integrity. This article focuses on analyzing the absurdity of character imagery and reality that is automatically accepted and followed in postmodern condition. As a result, readers can gain a deeper insight into the novel and seek empathy in the perception about the absurd, which is becoming normal in recently.

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TAŞ, Mehmet Recep. "REREADING JOSEPH HELLER S CATCH-22 FROM THE VIEWPOINT OF EXISTENTIAL PHILOSOPHY AND CAMUS ABSURDISM." Journal of International Social Research 10, no. 49 (April 25, 2017): 56–61. http://dx.doi.org/10.17719/jisr.2017.1557.

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Duskobil Kizi, Suyunova Maftuna. "Similarities And Differences Of War Depiction In J.Heller’s Novel “Catch 22” And Shukhrat’s Novel “Shinelli Yillar”." American Journal of Social Science and Education Innovations 2, no. 09 (September 30, 2020): 620–26. http://dx.doi.org/10.37547/tajssei/volume02issue09-94.

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This article is devoted to the similarities and differences of the American writer Joseph Heller’s novel “Catch-22” and prominent Uzbek writer Shukhrat (Gulom Aminov)’s novel “Shinelli yillar”. While comparing these two novels, we can see some similar war actions at the same time it is clearly evident the differences between works. As a member of the Beat Generation and the post-World War II era, Heller developed a very satirical approach towards institutions, particularly the national government and the military. He was deeply cynical of war, which was best exemplified by the "black humor" of Catch-22, and he explored the difficulties of Jewish experience in postwar America. However, Shukhrat’s involment in the Second World War, seeing the ruined cities and villages, defeat and victory, prompted him to record a great novel by “Shinelli Yillar” in 1958.

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Hidalgo-Downing, Laura. "Negation in discourse: a text world approach to Joseph Heller’s Catch-22." Language and Literature: International Journal of Stylistics 9, no. 3 (August 2000): 215–39. http://dx.doi.org/10.1177/096394700000900302.

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This article presents a discourse-based approach to negation by applying text world theory to the analysis of negation in the novel Catch-22, by Joseph Heller (1986 [1961]), The model developed for the analysis of negation is based on Werth’s (1999) notion of negation as a subworld which modifies information which is present in the common ground of the discourse. By so doing, negation contributes to the general discourse function of updating information in the text world. Additionally, negation may form part of contradictory structures which, being self-contained units, do not contribute to the updating discourse function but, rather, seem to block the flow of information. The analysis of the functions of negation is framed within a broader framework of stylistic analysis, where the objective is to discuss how the foregrounded nature of negation as a recursive feature in Catch-22 may have a defamiliarizing effect. The argument put forward in this article is that negation plays a crucial role in the expression of a conflict between what is presented as real and what is presented as not real in the fictional world; this conflict, in its turn, has important consequences for the way the story develops and the way major themes of the novel are treated.

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Knežević, Mirjana M. "Postmodern Irony and Humor in "Catch-22" by Joseph Heller and Their Parallels in Postmodern Music and Art." Belgrade English Language and Literature Studies 3 (2011): 229–47. http://dx.doi.org/10.18485/bells.2011.3.14.

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Ryabtseva, Irina, and Alexey Chukhno. "The manipulative characteristics of the tactics of the implementation of the “subterfuge” strategy in the novel “Catch 22” (by J. Heller)." E3S Web of Conferences 273 (2021): 11032. http://dx.doi.org/10.1051/e3sconf/202127311032.

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The article deals with the analysis of the “subterfuge strategy”, ten tactics of its implementation in the novel by J. Heller “Catch-22”. The article focuses on the manipulative potential of these tactics and the language means used to carry it out. The “subterfuge” strategy is treated as a direct violation of the norms of interaction and the main principle of cooperation. Its main goal is to conceal the speaker’s true intention in communicative situations of rivalry, hiding the truth, accusation, threat, aggression, reproach, flattery, silencing, protecting one’s own interests and value orientations, misleading, etc . Pragmatically the “subterfuge strategy” incorporates the characteristics of various types of speech actions such as: assertives, directives, expressiives, commissives, orders, demands, etc. All of them convey specific psychological states of the interlocutors. The paper focuses on the implementation of the subterfuge strategy through ten tactics: tactics of ignorance; tactics of expressing open disrespect; tactics of attacking, intimidation (transition to personality); tactics of making aggressive remarks under the guise of a joke and irony; tactics of question-to-question response; tactics of the game on self-esteem; compromising and belittling tactics; tactics of accusation and provoking feelings of guilt; persuasion tactics; tactics of question attack.

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Koval, Ekaterina A., Marina D. Martynova, and Natalya V. Zhadunova. "Informed Consent in the Big Data Age: The Need for Normative Updates." Ethical Thought 20, no. 2 (2020): 115–31. http://dx.doi.org/10.21146/2074-4870-2020-20-2-115-131.

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Big data is changing the usual practices of obtaining informed consent. Traditional informed consent models stop working because they don’t take into account the speed, volume, and variety of collected and processed data. In the traditional model it is extremely difficult to identify all possible uses for the information received from users, and obtaining secondary consent is difficult or simply impossible in a situation where data is depersonalized. As a result, a person signing an informed consent gets into the situation described by J. Heller in the novel «Catch-22»: absurd rules aimed at taking care of the individual lead to the opposite results. To avoid falling into catch-22, it is necessary to create new models of informed consent (the model of broad (full) consent, the model of dynamic consent, the market model, the model of postponed consent, the model of meta consent, the model of multi-level consent, the democratic model of consent), which can more effectively protect personal autonomy, confidentiality, privacy and serve as a guarantor of trust in the subjects of collecting, processing, and using big data. Although the new models of informed consent are not without drawbacks, a complete rejection of this procedure entails a violation of the precautionary principle and increases the likelihood of harm to the data subject. At the same time, following the precautionary principle should take into account the relationship between the individual and the General good and not hinder the development of different spheres of public life in the condition of big data accumulation. The creation of rules governing the receipt of informed consent and the use of data should be based on an analysis of existing practices and take into account a measure of openness and trust, which are determined by both personal and socio-cultural characteristics.

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Berruete Rodríguez, María del Pilar. "From Horror to Humour: Tracing Parody in Joseph Heller’s Catch-22." Philologia Hispalensis 2, no. 13 (1999): 37–45. http://dx.doi.org/10.12795/ph.1999.v13.i02.04.

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Dissertations / Theses on the topic "Catch 22 (Heller)"

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Staaby, Kirsten. "Bewilderment and illumination Catch-22 and the Dark Humor of the 1960s /." Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.

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Mäkinen, O. (Olli). "Moderni, toisto ja ironia:Søren Kierkegaardin estetiikan aspekteja ja Joseph Hellerin Catch-22." Doctoral thesis, University of Oulu, 2004. http://urn.fi/urn:isbn:9514272684.

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Abstract This thesis consists of three independent parts combined by the theory part in the beginning. The aim of the thesis is to bring into focus the connection between Søren Kierkegaard and modernism. Joseph Heller's novel Catch-22 is also interpreted in the light of Kierkegaard's philosophy. The theoretical part deals with the main concepts of the research (movement, irony, repetition). Joseph Heller's Novel Catch-22 is also brought up more closely in this part. Kierkegaard's works The Seducer's Diary, Repetition and The Mozart-essays are interpreted in the second part of the thesis. The third part consists of two Kierkegaard translations from Danish into Finnish: Repetition and The Mozart-essays. [Søren Kierkegaard, Toisto (Gjentagelsen), transl. by Olli Mäkinen, Jyväskylä 2001, Atena; Mozart-esseet (De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske), transl. by Olli Mäkinen, Jyväskylä, 2002)] Joseph Heller's novel Catch-22 is interpreted in the fourth part. The novel is studied in the light of Kierkegaard's paradigmatic examples and compared to them. There are two different contradictory movements in the study: Kierkegaard is studied as a modernist and modernism is also interpreted in the light of Kierkegaard's philosophy. The primary source of this thesis is the classical version of Kierkegaard's Collected Works: (Søren Kierkegards Samlede V?rker I-XV=SV I-XV. (1920-36 (1901-1906). -Udg. af A. D. Drachmann, J. L. Heiberg og H. O. Lange. Kjøbenhavn: Gyldendalske Boghandel, Nordisk Forlag) The more recent versions have however been used as the basis of the translations of texts Repetition and The Mozart-essays (Gjentageksen and De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske, Søren Kierkegaards Forskningscentret, København 1997, Gads Forlag). In conclusion: Kierkegaard can be interpreted also as pre-modernist and the Kierkegaard-interpretation of Joseph Heller's Catch-22 is valid and possible, although the existential influence in this novel can also derive from the post-war existentialism of the World War II
Tiivistelmä Kyseinen tutkimus koostuu kolmesta itsenäisestä osasta, joita yhdistää alussa oleva (neljäs) teoriaosa. Tutkimuksen tarkoituksena on valottaa Søren Kierkegaardin ja modernismin välistä yhteyttä. Tutkimuksessa tulkitaan myös amerikkalaisen kirjailijan Joseph Hellerin teosta Catch-22 Kierkegaardin filosofian valossa. Tutkimuksen teoriaosassa käsitellään tulkinnan kannalta keskeisiä käsitteitä (liike, ironia, toisto). Siinä otetaan esille myös Joseph Hellerin romaani Catch-22. Toisessa osassa lähiluetaan Viettelijän päiväkirjaa, joka on Kierkegaardin ehkä tunnetuin yksittäinen teos, ja sekä Toistoa että Mozart-esseitä. Kolmannen osan muodostavat kaksi kriittistä ja kommenteilla varustettua Kierkegaard-käännöstä. [Søren Kierkegaard (1843) Toisto (Gjentagelsen), suom. Olli Mäkinen, Jyväskylä 2001, Atena; Mozart-esseet (De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske), suom. Olli Mäkinen, Helsinki 2002, Like.] Tutkimuksen neljäs osa koostuu Joseph Hellerin romaanin Catch-22 tulkinnasta. Kohdetta lähestytään Kierkegaardin paradigmaattisten esimerkkitapausten kautta. Tutkimuksessa ilmenee siis kahdenlaista liikettä. Kierkegaardia tulkitaan modernistina, mutta modernismia luetaan myös Kierkegaardin filosofian valossa. Tutkimuksessa käytetään primäärilähteinä Kierkegaardin koottujen teosten klassista versiota (Søren Kierkegards Samlede V?rker I-XV=SV I-XV. (1920-36) -Udg. af A. D. Drachmann, J. L. Heiberg og H. O. Lange. Kjøbenhavn: Gyldendalske Boghandel, Nordisk Forlag). Gjentageksen- ja De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske -tekstien käännöksien pohjana on kuitenkin käytetty em. uusimpia versioita (Søren Kierkegaards Forskningscentret, København 1997-98, Gads Forlag). Tutkimuksessa päädytään johtopäätökseen, jonka mukaan Kierkegaardia voidaan tulkita myös esimodernistina ja Joseph Hellerin Catch-22 -teoksen Kierkegaard-tulkinta on mahdollinen, vaikka eksistentialistiset vaikutteet kyseisessä romaanissa voivat olla peräisin myös varsinaisesta toisen maailmansodan jälkeisestä eksistentialismista

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Keegan, Diana Morna Gerrard Dickson. "A study of Camus' notion of the absurd and its mythology in "Catch-22" and "Slaughterhouse-Five"." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 139 p, 2008. http://proquest.umi.com/pqdweb?did=1460433511&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Conklin, Robert Brian. "A fools' parade through three modern American novels : Catch-22, Slaughterhouse-five, and the World according to Garp /." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243521288.

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Ozias, Joseph Eugene. "Joseph Heller and the Errors of Comedy: From Heller's Catch-22 to Portrait of an Artist, as an Old Man." Ohio Dominican University Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1512648671501957.

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Books on the topic "Catch 22 (Heller)"

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Potts, Stephen W. Catch-22: Antiheroic antinovel. Boston: Twayne Publishers, 1989.

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Heller, Joseph. Catch-22. 5th ed. New York: Simon & Schuster Paperbacks, 2011.

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Joseph, Heller. Catch-22. New York: Knopf, 1996.

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Joseph, Heller. Catch-22. New York, NY: Simon & Schuster Paperbacks, 2004.

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Joseph, Heller. Catch-22. New York: Simon & Schuster Paperbacks, 2004.

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Joseph, Heller. Catch-22. London: Vintage, 1994.

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Joseph, Heller. Catch-22. New York: Knopf, 1995.

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Joseph, Heller. Catch-22. London: Black Swan, 1985.

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Heller, Joseph. Catch-22. New York, USA: Simon & Schuster, 1996.

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Joseph, Heller. Catch-22. London: The Folio Society, 2004.

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Book chapters on the topic "Catch 22 (Heller)"

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Gebsattel, Jerôme von, and KLL. "Heller, Joseph: Catch-22." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5456-1.

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Seed, David. "Catch-22." In The Fiction of Joseph Heller: Againts the Grain, 22–70. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20007-8_3.

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Seed, David. "The Road to Catch-22." In The Fiction of Joseph Heller: Againts the Grain, 7–21. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20007-8_2.

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"Joseph Heller, Catch-22, New York: Simon and Schuster, 1961." In The Twentieth-Century American Fiction Handbook, 281–85. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444393675.ch55.

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Levmore, Saul. "Lawmaking, Bilateral Rules, and a Debunking of Catch-22." In Cannons and Codes, 197–206. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197509371.003.0011.

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In “Lawmaking, Bilateral Rules, and a Debunking of Catch-22,” Levmore describes Joseph Heller’s antiwar novel Catch-22 as a “one-trick pony” that has little to say about law. The paradoxical legal rules that have made Catch-22 so famous bear little relation to actual law, Levmore argues. Whereas Catch-22’s rules have a binary, either-or structure, actual law is filled with exceptions, caveats, or additional variables that soften the law’s effects. In real life, where a rule might seem too stark, law generally utilizes a standard. Levmore observes that a novel’s ability to engender empathy or compassion likely depends on how plausible it is, and how connected with reality. On this dimension, he views Catch-22 as falling short.

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Masur, Jonathan S. "Catch-22 and the Law of Large Organizations." In Cannons and Codes, 207–27. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197509371.003.0012.

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Like Levmore, Masur observes that the quintessential feature of the absurdist guidelines in Catch-22 is that they are all structured as rules, rather than standards. There is no discretion available to the officers charged with implementing the army’s battery of legal commands and regulations. But whereas Levmore sees this as unrealistic, Masur argues that strict legal rules are endemic to large organizations such as the army. Governing millions of people is an immense logistical and organizational challenge. Upper-level commanders must ensure that mid-level officers follow orders consistently; mid-level officers must ensure that they are treating their soldiers equitably and without favoritism. In fact, as Masur observes, the modern US Army operates under the guidance of hundreds of minute and often preposterous rules, just like the army in Heller’s novel. In this respect, Catch-22 succeeds in capturing important features of both war and other types of mass mobilization.

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Goedde, Petra. "The Politics of Peace." In The Politics of Peace, 189–220. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780195370836.003.0008.

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The last chapter examines the migration of a politics of peace from the margins to the centers of political power. As leading antinuclear and peace advocates became increasingly marginalized by the student and antiwar movements, their efforts were beginning to bear fruit in the arena of international politics. They were helped by a popular groundswell of sentiment that saw the arms race and the political ideology of nuclear deterrence as increasingly absurd. Absurdist writers, filmmakers, and philosophers of the 1950s and 1960s creatively underscored the absurdist nature of Cold War politics through works such as Joseph Heller’s Catch-22, Stanley Kubrick’s science fiction film Dr. Strangelove, and the fictional secret government Report from Iron Mountain. Together, they helped pave the way for political leaders, including Nixon in the United States, and Willy Brandt in West Germany, to develop a more pragmatic politics of peace.

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Chaney, Anthony. "Difficulties at the Metalevel." In Runaway. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631738.003.0003.

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The narrative setting for chapter 2 is the Veterans Administration Hospital in Palo Alto, California, in the 1950s, where Bateson lead the double-bind research group investigating paradox and disorder in family relations. The chapter traces the early development of the double-bind theory of schizophrenia and its source in Russellian logical paradox. It discusses the double bind as a resonant and empirically rich example of similar constructs that distilled the modern predicament as an impossible dilemma. Other examples include Joseph Heller's catch-22, Reinhold Niebuhr's reformulation of original sin and his Serenity Prayer; Albert Camus's concept of the absurd and his novel The Stranger; and constructions in Kurt Vonnegut, Jr.'s Slaughterhouse Five. Double-bind equivalents as reactions to the atom bomb are described in works such as Joanna Greenberg's I Never Promised You a Rose Garden, Allen Ginsberg's Howl, and the film Rebel Without a Cause. Meanwhile, social critics such as Lewis Mumford used psychiatric and systems theory language and paradoxical constructions to talk about the failure of "pragmatic liberalism," the arms race, and policies of nuclear deterrence.

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Conference papers on the topic "Catch 22 (Heller)"

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Xiao, Chengxiao. "Joseph Heller’s Black Humor Creation from the Perspective of Catch-22*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.249.

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