Relevant bibliographies by topics / English fiction Riots in literature

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  2. Dissertations / Theses
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Academic literature on the topic 'English fiction Riots in literature'

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Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "English fiction Riots in literature"

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M, Athira. "Torn between Cultures: Reading Shashi Tharoor’s Riot." SMART MOVES JOURNAL IJELLH 9, no. 1 (January 29, 2021): 60–66. http://dx.doi.org/10.24113/ijellh.v9i1.10878.

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Shashi Tharoor is a distinctivevoice in the Postcolonial Indian literature in English with his remarkable contribution of more than 16 works of fiction and non-fiction. Postcolonialism refers to a set of theoretical concepts, approaches and interventions which deals with the diverse effects of the interaction between the colonizer and the colonized. History, politics and culture have always been a dominant preoccupation of the Indian English novelists. The compulsive obsession was perhaps inevitable since the genre originated and developed concurrently with the climatic phase of colonial rule. As a diplomat and writer, Shashi Tharoor has explored the diversity of culture in his native country. He has made his point in many of his interviews that the novel is full of collisions of various sorts- personal, political, cultural, emotional and violent. Riot is a novel about the ownership of history, about love, hate, cultural collision, religious fanaticism and the impossibility of knowing the truth. The novel chronicles the mystery of an American 24-year old lady, Priscilla Hart. The intention of this paper is to explore the cultural conflict between the East and the West and an attempt is made to examine Shashi Tharoor’s Riot as a conveyor of the various distinguishable features to the divergent cultures. The characters of Riot are facing problems and striving to achieve their identities as Indians and as individuals in Indian society. Lakshman, though an educated Indian, cannot share his intellectual ideas with any fellow Indians, but feels quite comfortable with Priscilla, an American lady. Yet, he cannot completely forego his Indian identity and is aware of their irreconcilable gap between their culture, values and outlook towards life.
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Hynes, Joseph, Michael North, and Patrick Swinden. "Contemporary English Fiction." Contemporary Literature 27, no. 1 (1986): 90. http://dx.doi.org/10.2307/1208601.

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Mattisson, Jane. "Race Riots. Comedy and Ethnicity in Modern British Fiction." English Studies 90, no. 2 (April 2009): 249–50. http://dx.doi.org/10.1080/00138380802583154.

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Williams, Robert. "Teaching English literature / Shorties: Flash fiction in English language teaching (Review)." Training Language and Culture 1, no. 1 (February 2017): 107–10. http://dx.doi.org/10.29366/2017tlc.1.1.7.

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King, Bruce, and G. S. Balarama Gupta. "Studies in Indian Fiction in English." World Literature Today 62, no. 3 (1988): 514. http://dx.doi.org/10.2307/40144489.

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Abitha, J. "English Literature on Social Discrimination, Fiction, Democracy and Feminism." DJ Journal of English Language and Literature 1, no. 1 (June 10, 2016): 15–19. http://dx.doi.org/10.18831/djeng.org/2016011004.

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Scheuermann, M. "Gender Studies of English Fiction." Eighteenth-Century Life 24, no. 3 (October 1, 2000): 73–102. http://dx.doi.org/10.1215/00982601-24-3-73.

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Adcock, Juana. "Springfield, Mexico. A Fan Fiction." English: Journal of the English Association 69, no. 265 (2020): 172–77. http://dx.doi.org/10.1093/english/efaa019.

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Amanuddin, Syed, and A. N. Dwivedi. "Studies in Contemporary Indian Fiction in English." World Literature Today 62, no. 4 (1988): 728. http://dx.doi.org/10.2307/40144778.

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Walker, Pierre A. "Book review: The Supernatural and English Fiction." Henry James Review 18, no. 2 (1997): 204–6. http://dx.doi.org/10.1353/hjr.1997.0014.

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Dissertations / Theses on the topic "English fiction Riots in literature"

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Knox-Shaw, Peter. "The explorer in English fiction." Doctoral thesis, University of Cape Town, 1985. http://hdl.handle.net/11427/22436.

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Although there have been a number of critical works on the novel given over to topics such as adventure, colonization or the politics of the frontier, a comparative study of novels in which an encounter with unknown territory holds central importance has till now been lacking. My aim in this thesis is to analyse and relate a variety of texts which show representatives of a home culture in confrontation with terra incognita or unfamiliar peoples. There is, as it turns out, a strong family resemblance between the novels that fall into this category whether they belong, like Robinson Crusoe, Coral Island or Lord of the Flies, to the "desert island" tradition where castaways have exploration thrust upon them or present, as in the case of Moby Dick, The Lost World or Voss, ventures deliberately undertaken. There are frequent indications, too, that many of the novelists in question are aware of working within a particular, subsidiary genre. This means, in sum, even when it comes to texts as culturally remote as, say, Captain Singleton and Heart of Darkness that there is firm ground for comparison. The emphasis of this study is, in consequence, historical as well as critical. In order to show that many conventions which are recurrent in the fiction inhere in the actual business of coming to grips with the unknown, I begin with a theoretical introduction illustrated chiefly from the writings of explorers. Travelogues reveal how large a part projection plays in every rendering of unvisited places. So much is imported that one might hypothesize, for the sake of a model, a single locality returning a stream of widely divergent images over the lapse of years. In effect it is possible to demonstrate a shift of cultural assumptions by juxtaposing, for example, a passage that tricks out a primeval forest in all the iconography of Eden with one written three centuries later in which - from essentially the same scene - the author paints a picture of Malthusian struggle and survival of the fittest. And since the explorer is not only inclined to embody his image of the natural man in the people he meets beyond the frontiers of his own culture, but is likely also to read his own emancipation from the constraints of polity in terms of a return to an underlying nature, the concern with genesis is one that recurs with particular persistence in texts dealing with exploration. With varying degrees of awareness novelists have responded, ever since Defoe, to the idea that the encounter with the unfamiliar mirrors the identity of the explorer. Their presentations of terra incognita register the crucial phases of social history - the institution of mercantilism, the rise and fall of empire - but generally in relation to psychological and metaphysical questions of a perennial kind. The nature of man is a theme that proves, indeed, remarkably tenacious in these works, for a reason Lawrence notes in Kangaroo: "There is always something outside our universe. And it is always at the doors of the innermost, sentient soul".
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Ambrosini, Richard. "Conrad's fiction as critical discourse." Thesis, University of Ottawa (Canada), 1989. http://hdl.handle.net/10393/20971.

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Jones, Margaret Anne. "The Blackshaw Chord ; Crime fiction, literary fiction : why the demarcation?" Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/366620/.

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My thesis is in two parts: Part 1 a novel, Part 2 a critical rationale. The novel examines abuse in a range of manifestations – parental power; alcohol; the press; corporate power – all of which combine to perpetrate a catalogue of abuse against my protagonist. But it is the completely innocent protagonist who is perceived as the abuser. The novel quite deliberately has the feel of a crime story although the only serious crime is off-the-page and not connected with any of the characters or locations. This is intentional. The critical rationale seeks to investigate the classification of crime fiction and literary fiction with crime in it, and attempts to examine where the demarcation appears. Much of the critical rationale examines my novel in this regard. Initially I was looking at the debate from the point-of-view of non-whodunnit crime, but my research took me increasingly towards literary authors who have moved into mystery writing, such as, Kate Atkinson, Susan Hill, John Banville (Benjamin Black) and Joanne Harris. I refer to several novels from the crime genre and from novels which occupy a ‘hinterland’ whereby crime is a major element of the narrative but where they are not regarded as crime fiction. I have researched the shelving policies of the local library and bookshops, and interviewed writers with regard to where they wish their work to be placed. I have also considered briefly what is genre and why hinterland novels are placed somewhere outside the classification of any genre. Where appropriate I have quoted from published authors with regard to their position in this debate, and have used four main novels to discuss the development of my novel - John Brown’s Body; Psycho; Rebecca and Brighton Rock.
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Dalley, Lana Lee. "Writing the economic woman : gender, political economy, and nineteenth-century women's literature /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9430.

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Morgan, David Ellis. "Pulp literature a re-evalutation [sic] /." Connect to this title online, 2002. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20040820.122551.

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Dunwell, Lara Dalene. "We make fiction because we are fiction : authorities displaced in the novels of Russell Hoban." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21400.

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Russell Hoban, born in Pennsylvania in 1925, is the author of fifty children's books and eight novels. This thesis provides a critical reading of his novels Kleinzeit (1974), The Medusa Frequency (1987), Riddley Walker (1980) and Pilgermann (1983). The thesis argues that the alienation of the protagonist from his society -- a theme common to the novels above -- is the result of the operation of the Derridean process of displacement. Hoban's novels work deconstructively to undermine binary oppositions (such as "reality" versus "fantasy"). I argue that the novels aim to recuperate the marginal by displacing the centre. In Kleinzeit and The Medusa Frequency, reality itself is figured as an absent centre. Through a discussion of magical realism, I show how Hoban questions the idea of a "consensus reality". I argue that by denying authority to the authors in these texts, Hoban privileges the uncertain authority of language itself. Using Derrida's concept of différance, I show that language in Kleinzeit is figured as an endless deferral of meaning. In Chapter II, I turn to an analysis of the invented post-atomic language of Riddley Walker, and examine how the neologisms and futuristic orthography of the text contribute towards significant wordplay. I argue that Riddley's attempts to read his culture's past offer a critique of the contemporary reader's assumptions, both about her present and about reading itself. I rely on Mircea Eliade's The Myth of the Eternal Return (1965) in discussing the nature of myth-making in Riddley Walker. In the final chapter, I discuss in detail the mechanism of displacement in Pilgermann. By examining the role of the grotesque in the novel, I argue that Pilgermann can be read hymeneutically. Derrida's figure of the hymen becomes the emblem of marginalisation. Using the example of the mode of the grotesque {which is prominent in the novel), I argue that the marginal is always already present in the very centre which would expel it. Pilgermann is read as an attempt to recuperate the margin in spite of "the confusion between the present and the non-present" (Derrida, 1984: 212) which is the hymen. Finally, I conclude that Hoban's works, while focussing on displacement, unwittingly displace women, by figuring them as absences whose existence is primarily metaphorical.
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Barker, Anna. "Green fiction : ecocriticism of the contemporary novel." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/32673/.

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Holmgren, Lindsay. "Knowing children: telepathy in Anglo-American fiction, 1846-1946." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121144.

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"Knowing Children" describes the means by which telepathic devices present the mind of the child in novels by Charles Dickens, Henry James, William Faulkner, and Carson McCullers. An intellectual interest in the child and childhood flourished not only during the same period as the formal study of telepathy, but also within the same circles. "Telepathy" can be understood for my purposes as a mode of narrative representation of consciousness and knowledge. Because social, linguistic, and cognitive limitations generally prevent child characters from articulating the contours of their surprisingly complex knowledge, their minds can best be rendered through the use of telepathic literary techniques that enable the child figures themselves to influence the course of their narratives. The theoretical core of the thesis illustrates how telepathic techniques in fiction influence causality, characterization, and reader reception. More broadly, the thesis demonstrates how the telepathic mode challenges the historical assumptions, narrative effects, and readerly responsibilities of so-called omniscient narration, showing how characters' minds are revealed through those of other characters, especially those of children, who would properly be sheltered from the discourses of authority. Thus, the thesis also calls into question the conventional category of childhood itself.
« Enfants savants » décrit les méthodes par lesquelles les dispositifs télépathiques présentent l'esprit des enfants dans les romans de Charles Dickens, Henry James, William Faulkner, et Carson McCullers. Un intérêt intellectuel pour l'enfant et l'enfance ont proliféré en tant qu'étude formelle de la télépathie, non seulement lors de la même période, mais aussi à l'intérieur des mêmes milieux. Pour mes fins, la "télépathie" peut être comprise en tant qu'un mode de représentation narrative de la conscience et de la connaissance. Puisque les limitations sociales, linguistiques et cognitives empêchent généralement les personnages d'enfant d'articuler les contours de leur connaissance étonnamment complexe, leurs esprits peuvent le mieux être traduits par le biais de dispositifs télépathiques-dispositifs qui permettent fondamentalement aux personnages d'enfants à influencer eux-mêmes le courant de leurs récits. Le principe théorique de ma thèse souligne la manière dont les techniques télépathiques influence la causalité, la caractérisation et la perception du lecteur. D'une manière générale, la thèse démontre la manière par laquelle le mode télépathique remet en question les suppositions historiques, effets narratifs et responsabilités du lecteur lors d'une narration autrefois omnisciente, montrant comment l'esprit des personnages est relevé à travers d'autres personnages, particulièrement ceux des enfants, qui seraient probablement gardés à l'écart des discours de l'autorité.
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Erhart, Erin Michelle. "England's Dreaming| The Rise and Fall of Science Fiction, 1871-1874." Thesis, Brandeis University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10103436.

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This dissertation grows out of a conversation between two fields—those of Victorian Literature and Science Fiction (SF). I began this project with a realization that there was a productive overlap between SF and Victorian Studies. In my initial engagement with SF, I was frustrated by the limitations of the field, and by the way that scholars were misreading the 19th century, utilizing broad generalizations about the function of Empire, the subject, technology, and the social, where close readings would have been more productive. Victorian studies supplied a critical and theoretical basis for the interrogation of these topics, and SF gave my reading of the nineteenth century an appreciation for the dynamic nature of the mechanism, and a useful jumping-off point for conversations around futurity, utopia, and the Other. Together, these two fields created a symbiotic theoretical framework that informs the progression of the dissertation.

In this project, I am shifting the grounds of engagement with early SF between two main terms; my aim is to question the establishment of “cognitive estrangement” as the seat the power in SF studies and supplant it with an emphasis on the “novum”. While both terms are indebted to Darko Suvin, I argue that the fixation on cognitive estrangement has blurred the lines of the genre of SF in nonproductive ways, and has needlessly complicated an already complex field. This dissertation is a deep engagement with the SF novels of 1871-2 to establish how the genre was defining itself from the very beginning, and looks to examine how a close-reading of early SF can inform our engagement with the field. Chapter one treats the work of Edward Bulwer-Lytton’s The Coming Race (1871), chapter two examines Sir George Chesney’s The Battle of Dorking (1871), chapter three engages with Samuel Butler’s Erewhon, and chapter four is an examination of the relationship between the first three novels and Robert Ellis Dudgeon’s Colymbia (1873) and A Voice from Another World (1874) by Wladyslaw Somerville Lach-Szurma (W.S.L.S).

There are four fundamental concerns. The first is that the near simultaneous publication of Chesney, Lytton, and Butler signaled the emergence of SF as a genre, rather than as the isolated texts that had existed prior to this moment. The clustering of the novels of 1871-2 marks the transition of SF concerns from singular outlier events to a generic movement. The second claim is that the “novum”, one of the key aspects of a SF novel, is not just a material component in the text, but is a kind of logic that undergirds these novels. While the novum is often thought of as “the strange thing in a strange world”, I lock onto the early language of Suvin and critics such as Patricia Kerslake and John Rieder to suggest that it is, instead, a cognitive logic that is experimented on within the narrative of the novel. The third claim is fundamentally tied to the second: this foundation logic of the text is technological or mechanical. It is this connection of cognitive logic and technology and the mechanism that situates the novum as a technologic that is experimented on or evolved within the body of an SF novel, and is important because it helps us lock onto how SF is a product of the industrial age. In the break that occurs in 1871, this form of the novum plays a critical role in the development and identification of SF as a genre, and helps to distinguish texts with scientific themes (what I am calling scientific fictions) from those featuring a fundamental technologic that is intrinsic to the development and deployment of the narrative (what will come to be called science fiction).

The fourth and final claim is a product of the function and nature of the novum: and is that SF as a genre not only helps to understand technology and culture, but actively works to define the relationship between the two. Technology is registered as an important influence on culture, and culture shapes the future of technology. This genre is ultimately growing out of the rise of the scientific method, and the logic of the texts reflects that experimental paradigm. The logic of SF is one that experiments with the future, testing the implications of the known world against the possibilities of time, and in doing so, defining the terms of engagement with what the future might bring.

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Hensley, Martin. "The Green World of Dystopian Fiction." TopSCHOLAR®, 2006. http://digitalcommons.wku.edu/theses/276.

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Northrop Frye was the first theorist to develop the green world archetype; Frye used the term to refer to a recurring motif in Shakespearean comedy. In several of Shakespeare's comedies, the protagonists leave the civilized world and venture into the green world, or nature, to escape from the irrational law of society, which is the case in such comedies as As You Like It and A Midsummer Night's Dream. Elements of the green world can also be found in Shakespearean tragedy, where the natural retreat serves as a temporary escape for the protagonists. Such a green world exists in three of the most well known examples of dystopian fiction: George Orwell's 1984, Aldous Huxley's Brave New World, and Yevgeny Zamyatin's We. In these three novels, the protagonists take flight from the repressive dystopia and journey into nature. In the green world, the protagonists attain individual freedom and identity and experience emotions, passions, beauty, the past, and the power of language. Each of these elements, which are associated with the green world, stand in opposition to the dystopian society's doctrine. The green world, then, becomes an escape, a place where the protagonists can temporarily live a free life away from the tyrannical powers of the dystopic society. The dystopian green world experience follows a pattern of flight, immersion, and departure. In the first segment, the protagonists flee from the oppressive society and into nature; in the second, they immerse themselves within the green world where they experience new sensations, emotions, and gain new insights and understanding; in the third, the protagonists depart the green world and return to the civilized world in order to confront it with the knowledge they have gained while immersed in the green world. This pattern can also be viewed as a symbolic cycle that moves from death to rebirth to death. The first death is the death-like stasis of the dystopia and of the protagonist, who is just a part of the whole and not truly an individual. The symbolic rebirth conies when the protagonists depart the green world as individuals with new know ledge and experiences. Lastly, the second symbolic, or sometimes literal death, comes when the protagonists confront the dystopia with their new knowledge, have that knowledge challenged by an agent of the dystopia, usually in the form of a trial, and, finally, are symbolically or literally destroyed by the dystopian agent.
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Books on the topic "English fiction Riots in literature"

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Kearney, J. A. Representing dissension: Riot rebellion and resistance in the South African novel. Pretoria: Unisa, 2003.

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Populism, gender, and sympathy in the romantic novel. New York: Palgrave Macmillan, 2010.

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Carson, James Patrick. Populism, gender, and sympathy in the romantic novel. New York: Palgrave Macmillan, 2010.

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Walter, Scott. The heart of Midlothian. Oxford: Oxford University Press, 2008.

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Walter, Scott. The heart of Mid-Lothian. London: Penguin Books, 1994.

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Walter, Scott. The heart of Midlothian. Oxford [Oxfordshire]: Oxford University Press, 1999.

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Walter, Scott. The heart of Mid-Lothian. London: J.M. Dent, 1988.

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Walter, Scott. The heart of Mid-Lothian. London: Dent, 1991.

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Walter, Scott. The heart of Mid-Lothian. Edinburgh: Edinburgh University Press, 2004.

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Walter, Scott. The heart of Mid-Lothian. London: J.M. Dent, 1988.

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Book chapters on the topic "English fiction Riots in literature"

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Rainsford, Dominic. "Prose fiction." In Literature in English, 44–57. Second edition. | New York City : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429277399-6.

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Alexander, Michael. "Fiction." In A History of English Literature, 285–308. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-04894-3_11.

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Hadfield, Andrew. "Prose Fiction." In A Companion to English Renaissance Literature and Culture, 576–88. Malden, MA, USA: Blackwell Publishers Ltd, 2007. http://dx.doi.org/10.1002/9780470998731.ch48.

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Nayar, Pramod K. "Dementia in recent Indian fiction in English." In Dementia and Literature, 148–59. Milton Park, Abingdon, Oxon : Routledge, 2018. | Series: Routledge advances in the medical humanities: Routledge, 2017. http://dx.doi.org/10.4324/9781315207315-10.

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Hadfield, Andrew. "Prose Fiction." In A New Companion to English Renaissance Literature and Culture, 423–36. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch70.

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Knight, Mark. "Sensation Fiction." In The Blackwell Companion to the Bible in English Literature, 577–86. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324174.ch41.

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Srivastava, Neelam. "Minor Literature and the South-Asian Short Story." In South-Asian Fiction in English, 253–71. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-40354-4_14.

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Stähler, Axel. "The “Aesthetics” of Fundamentalism in Recent Jewish Fiction in English." In Fundamentalism and Literature, 43–77. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230601864_4.

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Konurbaev, Marklen E. "The Voices in Fiction." In The Style and Timbre of English Speech and Literature, 173–86. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137519481_11.

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Borodo, Michał. "Sketching the Context: English Translations of Polish Children’s Literature." In English Translations of Korczak’s Children’s Fiction, 57–105. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38117-2_3.

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Conference papers on the topic "English fiction Riots in literature"

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Nurieva, Nailya, Tatyana Borisova, and Margarita Kulikova. "Application of Blended Learning in English Fiction Literature Course." In the 2nd International Conference. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3284497.3284504.

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Malá, Markéta. "English and Czech children’s literature: A contrastive corpus-driven phraseological approach." In Eighth Brno Conference on Linguistics Studies in English. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9767-2020-8.

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The paper explores the recurrent linguistic patterns in English and Czech children’s narrative fiction and their textual functions. It combines contrastive phraseological research with corpus-driven methods, taking frequency lists and n-grams as its starting points. The analysis focuses on the domains of time, space and body language. The results reveal register-specific recurrent linguistic patterns which play a role in the constitution of the fictional world of children’s literature, specifying its temporal and spatial characteristics, and relating to the communication among the protagonists. The method used also points out typological differences between the patterns employed in the two languages, and the limitations of the n-gram based approach.
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