Academic literature on the topic 'Charity in fiction'
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Journal articles on the topic "Charity in fiction"
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Cheung, Tommy. "Jediism: Religion at Law?" Oxford Journal of Law and Religion 8, no. 2 (May 6, 2019): 350–77. http://dx.doi.org/10.1093/ojlr/rwz010.
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Abstract This article explores whether Jediism, one of the ‘fiction-based religions’ in contemporary times, meets the requirements of religion under the English charity law. This article argues that the reasons gave by the Charity Commission of the UK in rejecting the application of the Jediist religious group the Temple of The Jedi Order (TOTJO) as a Charitable Incorporation Organization in 2016 was not made under solid legal grounds but on a moral judgment that Jediism, in their opinion, is not serious. This article argues that the principles adopted by the Charity Commission is wrong and they could reach the same conclusion by using a correct legal approach. Through a detailed study on the origin and the current situation of Jediism as a ‘fiction-based religious group’ and TOTJO, this article suggests that for Jediism to be considered as a bona fide religion, it needs to complete its belief system and bring back the concept of Dark Side from Star Wars. It was absent because of the Jediists’ deliberate effort to distance themselves from the Star Wars fandom. Finally, through looking at the history and evolvement of the English charity law, argues that there is room for the current English charity law to give a more liberal interpretation to allow a better balance between regulation of charity and the freedom of religion. It is necessary because of the public benefit brought by any bona fide religion.
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Litz, Duane. "Recovering Mrs Fidget: An Analysis of the Rise, Fall, and Restoration of Storge as Envisioned in The Four Loves and Lewis’ Fiction." Journal of Inklings Studies 7, no. 1 (April 2017): 29–101. http://dx.doi.org/10.3366/ink.2017.7.1.3.
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It is often observed that The Four Loves serves as a resource for reading Lewis’s fictional work. Scholarship admits that The Four Loves may even be used as a ‘roadmap’ for understanding love in his novels. However, previous treatments have yet to expose the particularly descriptive and comprehensive nature of Storge that runs through Lewis’s literature. This study adequately proves that the reader may use The Four Loves as a guide in order to define and understand natural Affection as it emerges in his narrative passages. Simultaneously, numerous examples from Lewis’s fictional corpus are offered in order to clarify concepts that will eventually coalesce in The Four Loves. Through careful analysis, it is evident that Lewis’s fiction illustrates the grandeur of Storge when it is crafted by artful Charity; the diabolical nature of Storge when it is corrupted by self-absorption; and the re-emergence of Storge when it is reordered by a journey of transformation. Therefore, using Lewis’s Mrs Fidget as a model to engage various facets of Storge, and utilizing The Four Loves as a guide to reading Lewis’s fiction, this study demonstrates that Lewis establishes a methodology for the rise, fall, and restoration of affectionate love in his writings.
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dos Guimarães Sá, Isabel. "Charity and Discrimination: The Misericórdia of Goa." Itinerario 31, no. 2 (July 2007): 51–70. http://dx.doi.org/10.1017/s0165115300000632.
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Domination is not hegemony, and no stable colonial system can survive on the basis of permanent physical violence over the local populations; a fiction of generosity has to be installed in order to create a bond between the rulers and the ruled. In order to establish a rhetoric based on disinterested giving, colonial powers had to make available to the colonised populations some “benefits” that could be claimed as being advantageous for the recipients and testify to the generosity of the givers. The “gift” on the part of the Portuguese in the Asian colonial context was their effort to convert the local populations to Christianity, a major enterprise that was undertaken with the help of the religious orders, and most especially the Jesuits. As a result of efforts to convert the masses, newly baptised populations could be granted some degree of integration in colonial society. One of such instances of integration was charity, although, as we shall see, converts were taken care of in a luminal social space that was well below that awarded to the colonists. The example of the Misericórdia of Goa can illustrate the point I am trying to make. The charity provided to the converted populations by this confraternity was directed mainly to the Portuguese-born elites, or their descendants, but did nevertheless include those willing to be integrated in the Catholic Church through conversion.
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Persell, Michelle. "CAPITALISM, CHARITY, AND JUDAISM: THE TRIUMVIRATE OF BENJAMIN FARJEON." Victorian Literature and Culture 27, no. 1 (March 1999): 203–18. http://dx.doi.org/10.1017/s1060150399271112.
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BENJAMIN LEOPOLD FARJEON (1838–1903) was a novelist of, at best, middling abilities who achieved a modicum of popular success working in the sentimental realist tradition. He was also Jewish, a fact that he neither avoided nor obsessed over. It is just Farjeon’s laissez-faire approach towards ethnic identity that spurs our interest today. He assumed an attitude that was only beginning to be possible in the British Empire in the middle to late Victorian period. Over the years, Farjeon has made perfunctory appearances in such familiar survey and reference materials as Richard Altick’s The English Common Reader (1957), John Sutherland’s The Stanford Companion to Victorian Fiction (1989), and Linda Gertner Zatlin’s Nineteenth Century Anglo-Jewish Novel (1981), but the only substantial piece of scholarship devoted solely to his work is Lillian Faderman’s dissertation “B. L. Farjeon: Victorian Novelist” (1967). Where Faderman provides a broad-based chronicle of Farjeon’s publications, I focus here on one aspect of his legacy — i.e., how he partook of an incipient opportunity to construct a position for Jews as Englishmen in economic terms.
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Magerstädt, Sylvie. "Love Thy Extra-Terrestrial Neighbour: Charity and Compassion in Luc Besson’s Space Operas The Fifth Element (1997) and Valerian and the City of a Thousand Planets (2017)." Religions 9, no. 10 (September 27, 2018): 292. http://dx.doi.org/10.3390/rel9100292.
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The role of romantic love in cinema–and its redeeming aspects–has been extensively explored in film studies and beyond. However, non-romantic aspects of love, especially love for the neighbour, have not yet received as much attention. This is particularly true when looking at mainstream science fiction cinema. This is surprising as the interstellar outlook of many of these films and consequently the interaction with a whole range of new ‘neighbours’ raises an entirely new set of challenges. In this article, the author explores these issues with regard to Luc Besson’s science fiction spectacles The Fifth Element (1997) and Valerian and the City of a Thousand Planets (2017). Both films have divided fans and critics and it is indeed easy to dismiss them as mere spectacle with little depth or message, as many reviewers have done. Yet, as this article demonstrates, beneath their shiny, colourful surface, both films make a distinct contribution to the theme of neighbourly love. What is more, Besson’s films often seem to develop a close link between more common notions of romantic love and agapic forms of love and thus offer a perspective of exploring our relationship to the alien as our neighbour.
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Cook, Jonathan A. "Christian Moralism in The House of the Seven Gables." Nathaniel Hawthorne Review 48, no. 1 (May 1, 2022): 1–27. http://dx.doi.org/10.5325/nathhawtrevi.48.1.0001.
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ABSTRACT This essay analyzes the pervasive presence of Christian motifs in The House of the Seven Gables, arguing that the most useful term to describe the author’s religious agenda in the novel is Christian moralism. While previous critics have noticed some of the religious and allegorical features of the narrative, none have provided an overarching explanation for their overall significance. A series of overt and covert biblical allusions thus provides a basis for key scenes and characterizations in the narrative, as the Pyncheon patriarchs, Colonel and Judge, are symbolically damned for their murderous hubris, while the inhabitants of the Pyncheon family mansion are eventually rewarded for their moral virtues of submission (Hepzibah, Clifford), love and charity (Phoebe), and forgiveness of injuries (Holgrave). Tracing the evidence of Christian moralism in The House of the Seven Gables enhances the reader’s appreciation of Hawthorne’s artistry in incorporating religious themes and motifs into his fiction without giving them overtly tendentious purposes.
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Cook, Jonathan A. "Christian Moralism in The House of the Seven Gables." Nathaniel Hawthorne Review 48, no. 1 (May 1, 2022): 1–27. http://dx.doi.org/10.5325/nathhawtrevi.48.1.0001.
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ABSTRACT This essay analyzes the pervasive presence of Christian motifs in The House of the Seven Gables, arguing that the most useful term to describe the author’s religious agenda in the novel is Christian moralism. While previous critics have noticed some of the religious and allegorical features of the narrative, none have provided an overarching explanation for their overall significance. A series of overt and covert biblical allusions thus provides a basis for key scenes and characterizations in the narrative, as the Pyncheon patriarchs, Colonel and Judge, are symbolically damned for their murderous hubris, while the inhabitants of the Pyncheon family mansion are eventually rewarded for their moral virtues of submission (Hepzibah, Clifford), love and charity (Phoebe), and forgiveness of injuries (Holgrave). Tracing the evidence of Christian moralism in The House of the Seven Gables enhances the reader’s appreciation of Hawthorne’s artistry in incorporating religious themes and motifs into his fiction without giving them overtly tendentious purposes.
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Klimek, Sonja. "Unzuverlässiges Erzählen als werkübergreifende Kategorie. Personale und impersonale Erzählinstanzen im phantastischen Kriminalroman." Journal of Literary Theory 12, no. 1 (March 26, 2018): 29–54. http://dx.doi.org/10.1515/jlt-2018-0003.
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Abstract This paper explores why unreliable narration should be considered as a concept not only applying to single works of fiction, but also to whole series of fiction, and why impersonal (›omniscient‹) narration can also be suspected of unreliability. Some literary genres show a great affinity to unreliable narration. In fantastic literature (in the narrower sense of the term), for instance, the reader’s »hesitation« towards which reality system rules within the fictive world often is due to the narration of an autodiegetic narrator whose credibility is not beyond doubt. Detective stories, in contrast, are usually set in a purely realistic world (in conflict with no other reality system) and typically do not foster any doubts regarding the reliability of their narrators. The only unreliable narrators we frequently meet in most detective stories are suspects who, in second level narrations, tell lies in order to misdirect the detective’s enquiries. Their untruthfulness is usually being uncovered at the end of the story, in the final resolution of the criminalistics riddle (›Whodunnit‹?), as part of the genre-typical ›narrative closure‹. As the new genre of detective novels emerged at the turn from the 19th to the 20th century, its specific genre conventions got more and more well-established. This made it possible for writers to playfully change some of these readers’ genre expectations – in order to better fulfil others. Agatha Christie, for example, in 1926 dared to undermine the »principle of charity« (Walton) that readers give to the reliability of first person narrators in detective stories – especially when such a narrator shows himself as being a close friend to the detective at work, as it was the case with Sir Arthur Conan Doyle’s famous Dr. Watson, friend to Sherlock Holmes. Christie dared to break this principle by establishing a first-person narrator who, at the end, turns out to be the murderer himself. Thus, she evades the »principle of charity«, but is not being penalised by readers and critics for having broken this one genre convention because she achieves a very astonishing resolution at the end of the case and thus reaches to fulfil another and even more crucial genre convention, that of a surprising ›narrative closure‹, in a very new and satisfying way. Fantastic literature and detective novels are usually two clearly distinct genres of narrative fiction with partly incommensurate genre conventions. Whereas in fantastic literature (in the narrower sense of the term), two reality systems collide, leaving the reader in uncertainty about which one of the two finally rules within the fictive world, detective novels usually are settled in a ›simply realistic‹ universe. Taking a closer look at a contemporary series of detective fiction, that is, the Dublin stories of Tana French (2007–), I will turn to an example in which the genre convention of ›intraserial coherence‹ provides evidence for the unreliability of the different narrators – whereas with regard only to each single volume of the series, each narrator could be perceived as being completely reliable. As soon as we have several narrators telling stories that take place within the same fictive world, unreliable narration can result from inconsistencies between the statements of the different narrators about what is fictionally true within this universe. Additionally, the Tana French example is of special interest for narratology because in one of the volumes, an impersonal and seemingly omniscient narrator appears. Omniscient narration is usually being regarded as incompatible with unreliability, but, as Janine Jacke has already shown, in fact is not: Also impersonal narration can mire in contradictions and thus turn out to be unreliable. With regard to Tana French’s novel, I would add that it can also be mistrusted because the utterances of this narration can conflict with those of other narrators in other volumes of the same series. So in the light of serial narration, the old question of whether impersonal narration (or an omniscient narrator) can be unreliable at all should be reconsidered. In the case of narrative seriality, the evidence for ascribing unreliability to one of its alternating narrators need not be found in the particular sequel narrated by her/him but in other sequels narrating about events within the same story world. Once again, narrative unreliability turns out to be a category rather of interpretation than of pure text analysis and description. Again, Tana French like previously Agatha Christie is not being penalised by readers and critics for having broken this one genre convention of letting her detective stories take place in a purely ›realistic‹ universe because today, genre conventions are merging more and more. Tana French achieves an even more tempting ›narrative tension‹ by keeping her readers in continuous uncertainty about whether a little bit of magic might be possible in the otherwise so quotidian world of her fictive detectives. Thus, the author metafictionally (and, later also overtly) flirts with the genre of »urban fantasy«, practicing a typical postmodern merging of well-established, hitherto distinct popular genres.
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Lumi, Elvira, and Lediona Lumi. "Text Prophetism." European Journal of Language and Literature 7, no. 1 (January 21, 2017): 40. http://dx.doi.org/10.26417/ejls.v7i1.p40-44.
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"Utterance universalism" as a phrase is unclear, but it is enough to include the term "prophetism". As a metaphysical concept, it refers to a text written with inspiration which confirms visions of a "divine inspiration", "poetic" - "legal", that contains trace, revelation or interpretation of the origin of the creation of the world and life on earth but it warns and prospects their future in the form of a projection, literary paradigm, religious doctrine and law. Prophetic texts reformulate "toll-telling" with messages, ideas, which put forth (lat. "Utters Forth" gr. "Forthteller") hidden facts from fiction and imagination. Prometheus, gr. Prometheus (/ prəmiθprə-mee-mo means "forethought") is a Titan in Greek mythology, best known as the deity in Greek mythology who was the creator of humanity and charity of its largest, who stole fire from the mount Olympus and gave it to the mankind. Prophetic texts derive from a range of artifacts and prophetic elements, as the creative magic or the miracle of literary texts, symbolism, musicality, rhythm, images, poetic rhetoric, valence of meaning of the text, code of poetic diction that refers to either a singer in a trance or a person inspired in delirium, who believes he is sent by his God with a message to tell about events and figures that have existed, or the imaginary ancient and modern world. Text Prophetism is a combination of artifacts and platonic idealism. Key words: text Prophetism, holy text, poetic text, law text, vision, image, figure
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Weaver, Zofia. "A Parapsychological Naturalist: A Tribute to Mary Rose Barrington (January 31, 1926 – February 20, 2020)." Journal of Scientific Exploration 34, no. 3 (September 15, 2020): 597–601. http://dx.doi.org/10.31275/20201845.
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Mary Rose Barrington was born in London; her parents were Americans with Polish-Jewish roots who decided to settle in England. By her own account (she very considerately left a biographical note for her obituary writer), her childhood was idyllic, mostly spent riding her pony and playing tennis, as well as reading her older brother’s science fiction. Later she became interested in classical music (she was an accomplished musician, playing cello in a string quartet and singing alto in a local choir) and in poetry, obtaining a degree in English from Oxford University. She then studied law, qualified as a barrister and a solicitor, and spent most of her professional life as a lawyer; her duties included acting as charity administrator for a large group of almshouses. Having a career in the law helped in pursuing two interests of special significance to her, animal protection and the right to voluntary euthanasia. She was responsible for drafting three parliamentary Bills relating to these subjects; none of them passed, but they produced some useful discussions. However, her main interest was in psychical research. When she was 15 she read Sir Oliver Lodge’s Survival of Man, and at Oxford she joined the Oxford University Society for Psychical Research, at that time headed by the philosopher H.H. Price and ran by Richard Wilson, later physics professor at Harvard. The society was very active and hosted knowledgeable invited speakers such as Robert Thouless, Mollie Goldney, and Harry Price. Eventually Mary Rose herself became the Oxford society’s President.
Dissertations / Theses on the topic "Charity in fiction"
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Painter, Ainsley. "From caramel factory to charity ward : aspects of women's fiction in the Japanese proletarian literary movement /." Title page, contents and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09arp148.pdf.
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Albertan-Coppola, Marianne. "Être pauvre au siècle des Lumières : représentations de la pauvreté dans la fiction romanesque du XVIIIe siècle." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100109.
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Alors que la pauvreté a engendré moult débats et publications au XVIIIe siècle, les pauvres sont restés les oubliés de l'Histoire jusqu'aux travaux de J.-P. Gutton, D. Roche, A. Farge à la fin du XXe. Dans le domaine littéraire, elle n'a pas suscité beaucoup d'études, contrairement à son pendant, la richesse. Pourtant, le personnage du pauvre connaît un véritable essor au siècle des Lumières, au théâtre et surtout dans le roman. À parcourir les centaines de romans qui font une place à la pauvreté, une première constatation s'impose. Si le picaro reste au tournant du siècle une figure importante et le restera en pointillé tout au long du siècle, il fait place progressivement à des représentations plus nuancées jusqu'à susciter à la fin une forme de fascination. Comment est-on passé de la vision stéréotypée de la pauvreté qui prévalait au XVIIe siècle à la valorisation du misérable, voire du sordide qui s'opère à la fin du XVIIIe ? Pareil changement n’est pas le fruit d’une rupture brutale mais d’une lente évolution : un mouvement semble se dessiner, qui part des romans-mémoires du début du siècle dont les auteurs accordent une place accrue à l’argent et portent un regard singulier sur les indigents, se développe au milieu du siècle à travers des figures ancrées dans la réalité sociale de leur temps, tels le Neveu de Rameau ou Margot la Ravaudeuse, pour aboutir à cette image crue des miséreux offerte par un Rétif ou un Mercier, qui triomphe en fin de siècleWhile poverty generated many debates and publications in the 18th century, the poor remained forgotten in History until the works of J.-P. Gutton, D. Roche, A. Farge at the end of the 20th century. In the literary field, it has not given rise to many studies, unlike its counterpart, wealth. However, the character of the poor experienced a real boom in the Age of Enlightenment, in the theater and especially in the novel. Looking through the hundreds of novels that make room for poverty, a first observation is essential. If the picaro remains an important figure at the turn of the century and will remain dotted throughout the century, it gradually gives way to more nuanced representations until at the end creating a form of fascination. How did we go from the stereotypical vision of poverty that prevailed in the 17th century to the valuation of the miserable, even the sordid, which took place at the end of the 18th? Such a change is not the result of a sudden rupture but of a slow evolution: a movement seems to take shape, which starts from the romances-memories of the beginning of the century whose authors give an increased place to the money and carry an unique look at the needy, developed in the middle of the century through figures anchored in the social reality of their time, such as the Nephew of Rameau or Margot the Ravaudeuse, to achieve this raw image of the destitute offered by a Retif or a Mercier, which triumphs at the end of the century
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Harrison, Colin. "Heretical necessity : Herman Melville and the fictions of charity." Thesis, University of Nottingham, 1997. http://eprints.nottingham.ac.uk/11314/.
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Heretical Necessity explores the various ways in which an idea of value was established and debated through the literature of mid 19th century America. Above all, it concerns moral value, the language of personal virtue and social ethics; this includes notions of sympathy and self-sacrifice promoted in sentimental fiction, which I read alongside Melville's responses in his later work: the perversion of altruism in Pierre, his critique of benevolence in the short stories, and his ironization of trust in The Confidence Man. Charity is a key issue because it refers both to a notion of fellowship integral to the sentimental vision of society and to a principle of unreciprocated (hence antagonistic) action: giving one's all becomes incompatible with the more measured principles of justice on which a democracy has to be based. I argue that moral value is related to the production of value in the economic sphere, since charity is at once a religious and a financial practice, thus linking the Christian notions of fellowship and giving to ideas of utility and luxury in capitalist society. In this respect my work is informed by the idea of symbolic exchange, via the theories of figures like Mauss, Bataille, Baudrillard and Derrida; prompted by these thinkers, I attempt to identify different types of contract in the literature (commercial, social, masochistic, and literary) and incorporate them in the same general analysis, as a way of exploring the structural complexities of the moral narrative and the discourse of American community.
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George, Delyth Ann. "Rhai agweddau ar serch a chariad yn y nofel Gymraeg - 1917-85." Thesis, Aberystwyth University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295763.
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Romieux-Brun, Élodie. "Clio dans les romans grecs : l’Histoire chez Chariton et Héliodore." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040163.
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Les références à l’Histoire sont très présentes dans le Roman de Chairéas et Callirhoé de Chariton (Ier siècle ap. J.-C.) et dans les Éthiopiques d’Héliodore (IVe siècle ap. J.-C.). Elles sont exprimées selon des modalités très variées. Les intrigues se déroulent à l’époque classique. Elles font allusion à un grand nombre d’épisodes et de personnages historiques. Les jeux d’intertextualité avec Hérodote et de Thucydide sont nombreux. Ces procédés font écho à des pratiques d’écriture courantes chez les orateurs. La souplesse de la forme romanesque, qui n’est pas encore codifiée, permet de mettre en scène une représentation du passé riche et innovante. Les démarches des deux romanciers sont différentes. Le Roman de Chairéas et Callirhoé met en scène une grande diversité de références au passé, donnant à lire un condensé de l’Histoire grecque de l'époque classique à Alexandre. Les jeux d’intertextualité avec l’œuvre de Thucydide suggèrent une réflexion sur la transformation de l’Athènes classique. Les échos à différents personnages historiques reflètent l’évolution des valeurs morales de l’époque classique à l’époque impériale. Se dessine ainsi, à travers les références historiques, une réflexion sur l’exercice du pouvoir, en lien avec les écrits des orateurs. Les Éthiopiques présentent des jeux d’intertextualité très élaborés avec les Histoires d’Hérodote. À travers ces échos, le romancier affirme la profonde innovation que constitue le genre romanesque. Les références à l’Histoire dessinent les contours d'un univers romanesque original, qui trouve sa place entre Histoire et légende. Elles expriment des enjeux politiques et moraux présents chez les orateursReferences to history are frequent in the Greek novels Chaireas and Callirhoe, by Chariton (1th century AD), and Aithiopika, by Heliodorus (4th century AD.) These references take a variety of forms. The novels are set in the classical period, but they refer to a wide range of events and historical figures. They also feature rich intertextual engagement with the histories of Herodotus and Thucydides, in a way that recalls the allusive practices of contemporary orators. Thanks to the flexibility of the novel framework, which had not yet been codified, the authors represent the past in innovative, complex, and divergent ways. The Romance of Chaireas and Callirhoe, I demonstrate, exhibits a large variety of references to the past, giving a condensed summary of Greek history from the classical era to Alexander the Great. Echoes to Thucydides suggest thoughts on the transformation of Athens, while references to different historical figures reflect the change of moral values from the classical era to imperial times. The references to the past are linked to political thoughts, in connection with orators' discourses. The Aithiopika, by contrast, presents elaborate allusions to Herodotus Histories. Through these echoes, the novelist affirms the profoundly innovative capacity of the Greek novel as a genre. References to history, I conclude, draw the outlines of an original fictional universe, which finds its place between history and legend, and serve as a counterpoint to the political and moral frameworks developed in oratorical contexts
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Privitera, Ludivine. "Le fait religieux dans les romans grecs : Un aperçu du paganisme à l’époque impériale ?" Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040193.
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Cette étude s’attache à l’observation et l’analyse du fait religieux dans les romans grecs. Les romans de Chariton, Xénophon d’Éphèse, Longus, Achille Tatius et Héliodore forment un corpus étonnamment cohérent, au vu de la distance temporelle qui les sépare. Ils se refusent pourtant à toute tentative de généralisation en matière religieuse. Prenant le contre-pied des études symbolistes, ce travail présente un relevé exhaustif de la religion observable dans les romans. Sont ainsi étudiés les lieux de culte et leur personnel, ansi que les actes rituels effectués par les personnages. La mise en rapport des cultes romanesques avec l'archéologie et les conceptions religieuses des époques classique et impériale se révèle un moyen de prendre la mesure d’une reconstruction romanesque de la réalité, passée ou contemporaine. Le rapport de valeur établi dans les romans entre sacrifice et prière ainsi qu’entre cultes collectif et personnel permet d'apercevoir certains aspects de la religion propres à l'époque impériale. Mis en relation avec l'usage rhétorique et romanesque du fait religieux, il permet également de définir le projet de chacun des romanciers, en matière religieuse et politique, mais aussi esthétiqueThis thesis concentrates on the observation and analysis of places, people and acts of religion in Greek fiction. Charito, Xenophon Ephesius, Longus, Achilles Tatius and Heliodorus have produced suprisingly similar novels given that they were written at quite different times, although they still resist every attempt at religious generalisation. Traditionnal studies on the subject are symbolistic, on the contrary, here we will analyse the concrete aspects of religion, as they actually appear in these novels. So we will study the sacred places, the priests, and the rituals performed out by the novel's characters. The comparison of these fictionnal cults with archeological findings and religious conceptions from Imperial and Classical times will allow us to mesure the novelist's reconstruction of a reality, pertaining to their present or their past. The respective value given in these novels to sacrifice and prayer, to collective and individual cults shows some modern aspects of Greek religion in the Imperial era. If put in relation with the rhetorical and dramatic use of religion, this will also provide elements to define each novelist's religious, political but also esthetic project
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Goldfarb, Nancy D. ""Charity Never Faileth": Philanthropy in the Short Fiction of Herman Melville." Thesis, 2014. http://hdl.handle.net/1805/6298.
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Indiana University-Purdue University Indianapolis (IUPUI)This dissertation analyzes the critique of charity and philanthropy implicit in Melville’s short fiction written for periodicals between 1853 and 1856. Melville utilized narrative and tone to conceal his opposition to prevailing ideologies and manipulated narrative structures to make the reader complicit in the problematic assumptions of a market economy. Integrating close readings with critical theory, I establish that Melville was challenging the new rhetoric of philanthropy that created a moral identity for wealthy men in industrial capitalist society. Through his short fiction, Melville exposed self-serving conduct and rationalizations when they masqueraded as civic-minded responses to the needs of the community. Melville was joining a public conversation about philanthropy and civic leadership in an American society that, in its pursuit of private wealth, he believed was losing touch with the democratic and civic ideals on which the nation had been founded. Melville’s objection was not with charitable giving; rather, he objected to its use as a diversion from honest reflection on one’s responsibilities to others.
Books on the topic "Charity in fiction"
More sourcesBook chapters on the topic "Charity in fiction"
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Gowanlock, Jordan. "Simulation and R&D: Knowing and Making." In Palgrave Animation, 17–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_2.
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AbstractThis chapter of Animating Unpredictable Effects charts the development of the software tools used to create uncanny simulation-based digital animations, drawing a genealogy that starts with nineteenth century mathematics, which were transformed into management and prediction tools by private and military R&D between the 1940s and 1980s. Through this, the chapter identifies a connection between these animation tools and simulation tools used in fields as diverse as meteorology, nuclear physics, and aeronautics that create unpredictability through stochastic or dynamic simulation. Using this information, the chapter offers a theoretical framework for understanding how fictional simulations in animation and visual effects make meaning through “knowing how” as opposed to cinema’s tradition approach of “knowing that,” leveraging concepts from the history of science.
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Dovey, Lindiwe, and Estrella Sendra. "Toward Decolonized Film Festival Worlds." In Rethinking Film Festivals in the Pandemic Era and After, 269–89. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_14.
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AbstractThis chapter is in part a manifesto and in part an engagement with the thinking and practice already re-shaping film festivals in this era of decolonization and Covid-19. We take as a starting point and analyze the provocative docu-fiction film titled Film Festival Film (dir. Perivi Katjavivi and Mpumelelo Mcata, 2019, South Africa) which raises myriad, difficult, and enduring questions about film festivals and contemporary film culture. Reading the provocations of this film alongside our own respective research into and work with film festivals and film curation (mostly in relation to African filmmaking), we then put ourselves into conversation with 22 film festival curators and filmmakers around the world who have shared their experiences with us, as well as with recent decolonial theorizing (by, e.g., Ndlovu-Gatsheni, Mignolo and Walsh). The chapter grapples with questions such as what does decolonization mean in relation to contemporary film culture? What would decolonized film festival worlds look like? And what have film practitioners learned from their work during the Covid-19 pandemic that might help us to collectively realize those worlds? In this way, we try to chart the significant work being done by many people to build more inclusive, sustainable, decolonized film cultures.
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"Locating Literary Meaning. A Formal Framework for a Philological Principle of Charity." In Understanding Fiction, 146–65. mentis Verlag, 2012. http://dx.doi.org/10.30965/9783957439598_013.
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"“CHARITY”: MARRIAGE AND IDENTITY." In Morality, Identity and Narrative in the Fiction of Richard Ford, 273–91. Brill | Rodopi, 2008. http://dx.doi.org/10.1163/9789401205948_014.
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Lea, Daniel. "Jon McGregor." In Twenty-First-Century Fiction. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719081491.003.0006.
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This chapter traces the development of Jon McGregor’s writing up to the publication of his collection of short stories This Isn’t the Sort of Thing that Happens to Someone Like You (2012). It establishes McGregor’s deep interest in the resonance of the everyday and the overlooked, and examines the ethical importance of mutual recognition and the import of the other in his writing. McGregor’s fiction always demands the gaze of an often disinterested world both as an act of charity, and as a statement of human connectedness.
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Thorne-Murphy, Leslee. "“A Booth in Vanity Fair”." In Bazaar Literature, 13–50. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192866882.003.0002.
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Abstract Chapter 1, “A Booth in Vanity Fair”: Charity Bazaars and the Methods of Fiction, narrates the progress of fundraising bazaars from their beginnings in the post–Napoleonic War era to the end of the nineteenth century when massive fairs held during London’s social season were a well-entrenched tradition. The author utilizes newspaper data to give a trajectory of bazaar development and draws broadly from material written and printed in conjunction with bazaars, including advertisements, press coverage, broadsheets, pamphlets, gift books, and instruction manuals. Together, these materials demonstrate the ways in which philanthropists adopted techniques from fiction to stage bazaars as vital scenes of civil society.
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Thorne-Murphy, Leslee. "Fancy Fair or Nonesuch Bazaar?" In Bazaar Literature, 203–8. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192866882.003.0009.
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Abstract The conclusion narrates the fate of bazaar discourse in the twentieth century, and it revisits the three main claims of the book. First, that Victorian-era charity bazaars were distinctly feminized sites of civil society, and that the print matter surrounding them is essential to understanding women’s contributions to social reform. Second, that bazaar literature revises our understanding of the larger literary market in social reform fiction, revealing a self-critical strain that is paradoxically braided with strident political activism and realist sensibilities. Third, that depictions of bazaars within realist reform fiction invite authors to re-evaluate their social roles and aesthetic methods according to the logic of bazaar discourse.
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Knapp, Liza. "6. What then must we do?" In Leo Tolstoy: A Very Short Introduction, 83–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198813934.003.0006.
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In his later years, Tolstoy occupied himself with questions of social justice. Tolstoy wrote on a number of topics, including poverty, the allocation of goods and privileges, class relations, landownership, manual labour, famine, charity, civil disobedience, non-violence, and the ethics of diet. Tolstoy had been concerned with these questions earlier, both in his fiction and in his own life. But, inspired by his newly articulated faith, he felt the need to address these social issues more directly. For Tolstoy, faith and action went hand in hand. ‘What then must we do?’ considers how Tolstoy addressed these issues in What Then Must We Do?, Resurrection, and other works.
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Thorne-Murphy, Leslee. "Women, Fancy Fairs, and Social Reform." In Bazaar Literature, 1–10. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192866882.003.0001.
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Abstract At the end of James Joyce’s “Araby,” the protagonist finds himself walking through a large charity bazaar, gazing into the just-darkened upper galleries, as the last of the stalls close around him. He has arrived too late to succeed in his quest of obtaining a memento for the girl he longs to please, and his sense of failure and disillusionment is palpable. One might assume that Joyce was taking a decidedly Modernist stance in utilizing a quintessentially Victorian bazaar as a setting for ironic reflection. Yet, Joyce was actually drawing upon an established cultural and literary trope. A close look at nineteenth-century bazaars demonstrates that these philanthropic marketplaces were defying expectations and inviting self-critique from their inception. Bazaars distilled the very essence of Victorian philanthropic moral earnestness while at the same time allegorizing the futile and alienating excesses of Victorian ethics and might. They were sites of strident advocacy and yet also of pointed critique. This book parses the culture and literature of the British charity bazaar, from its origins in the Georgian period, through the nineteenth century to the time of Joyce, exploring the complex and contradictory characteristics that made it a vital fundraising method, a means of explicit and defiant political engagement for women, and a literary device that reshapes our understanding of Victorian social reform fiction.
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Hofer-Robinson, Joanna. "Paperwork and Philanthropy: Dickens’s Involvement in Metropolitan Improvement." In Dickens and Demolition, 130–72. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420983.003.0005.
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This chapter analyses Dickensian afterlives in nineteenth-century philanthropic works alongside an investigation of Dickens’s personal involvement in a scheme to improve London’s provision of housing stock for the East End poor. Dickens collaborated with a number of his social network on this project, including Angela Burdett Coutts and Dr Thomas Southwood Smith. His chief contributions were bureaucratic, and, contemporaneously with this work, he explored tensions between the effectiveness and ineffectiveness of paperwork in Bleak House. Thus, this chapter suggests that Dickens’s practical and administrative involvement in charity work informed his imaginative representation of the utility and futility of paperwork, and how he conceptualised the effectiveness of different forms of writing. Dickens famously contended for pet causes in his fiction, but the various ways in which Dickens’s works were appropriated by other people, and recontextualised to promote or to criticise philanthropic projects, reveal that his writing was not always useful in the sense that he imagined. Indeed, the instrumentality of Dickens’s fiction to effect charitable projects was often indirect. For example, philanthropists, including Mary Carpenter and Octavia Hill, curated literary afterlives to enhance the effectiveness of their arguments in published treatises, even though the novels are not always relevant to their causes.