Relevant bibliographies by topics / Fictitious writer

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Fictitious writer'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Fictitious writer"

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Sampytho, Gilang Rizky, Tutik Sulistyowati, and Muhammad Hayat. "Sistem Mafia Aplikasi Online Grab di Era Digitalisasi." Al-Mada: Jurnal Agama, Sosial, dan Budaya 4, no. 1 (2021): 40–63. http://dx.doi.org/10.31538/almada.v4i1.837.

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The development of technology will be followed by the development of crime, one of which is the Grab online application mafia in the form of a fictional restaurant. Humans become objects so it must also be analyzed that the mafia experiences control by technology, it is an important subject when analyzing using the Herbert Mercuse theory. digitization. The research method used is qualitative, with a descriptive type of research. Descriptive is a type of qualitative research that describes problems that exist in society. The technique of determining the subject using purposive sampling. The analysis in this study uses Herbert Marcuse's theory of one dimension man and technological rationality. The findings of this study are the existence of a fictional restaurant by applying the mafia work system to take Grab promos with a crime system in the digitalization world. A fictional restaurant is a crime because stealing a Grab promo that is not carried out based on the system recommended by Grab. In fact, a fictitious order can be a profitable business between 3 parties. A number of drivers admit that the practice of fictitious orders is often deliberately carried out by the restaurant. According to them, Grab is not disadvantaged because the restaurant still does not pay taxes and sales traffic is high. Suggestions for the next writer related to this research are to focus on Grab bike drivers who often receive fictitious orders both in terms of receiving passenger orders, express and food delivery.
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Jasim, Dr Mohammed N. "A Look at Realism and its Reflection In the poetry of Contemporary Poets in Iran and Iraq." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 3 (2019): 25–52. http://dx.doi.org/10.36473/ujhss.v58i3.910.

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Realism attempts to discovering and expressing reality and replacing reality by imagination, dreaming, and legends, the realist writer uses his genius and modernity instead of a fictitious one in observing and expressing details. The school of realism is one of the most fundamental art schools that emerged in France in the mid-nineteenth century and expanded rapidly. Avoiding the imagination and inner inspirations of the romantics and addressing the realities of the universe outsidewere the most basic principles of this school that poets, writers and artists adopted and followed. In Iran and Iraq, poets and writers focused on social issues and the decline and backwardness of their own countries.The literature of each nation reflects the political and social conditions of the nation. Given that the socioeconomic conditions of Iran and Iraq have been affected by the same events in contemporary times, the thoughts and the literary themes of these two literatures are largely similar. Among the prominent contemporary poets of Iran and Iraq are: Nima Youshij and Siavash Kasraei in Iran, Badr Shakir al-Sayyab and Abdul Wahhab al-Bayati in Iraq, pointed out that intense tendencies towards freedom and support of workers and farmers have brought the situation to the attention of the country. This studyis limited to studying four poets (Nima Youshij, Siavash Kasraei, Badr shaker al-Sayyab and Abdul Wahhab al-Bayati). By analyzing realism in the poetry of those four poets, each writer believes in particular realism, describing and expressing the social, political, and the describing the nature from the language of each poet in his own way. In his realistic description, each poet expresses a socio-political dimension more prominently
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Culea, Mihaela. "Adaptation or escapism? The British Royals’ tribulations and the crisis of personal identity in Sue Townsend’s The Queen and I." Ars Aeterna 7, no. 2 (2015): 44–64. http://dx.doi.org/10.1515/aa-2015-0010.

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Abstract In The Queen and I (1992), English writer Sue Townsend (1946-2014) satirically imagines the abolition of the British monarchy and the subsequent social, political and even personal trials generated by their new situation. This paper1 focuses on the hardships experienced by the royal family in their demoted condition, with special focus on aspects related to personal identity, such as emotional remoteness, displacement, disputes over the reputation of the (royal) name, re-naming, falsifying one’s name and the invention of another identity, illness, escape mechanisms and struggles to adapt to a new life - all of these fictitious tribulations depicting the royal family in a state of crisis
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Martynenko, E. A. "Glasgian Novel in Work of Alasdair Gray." Nauchnyi dialog 1, no. 7 (2021): 212–26. http://dx.doi.org/10.24224/2227-1295-2021-7-212-226.

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The representation of the urban space in the prose of the major Scottish writer A. Gray on the material of his key novels “Lanark” (1981), 1982, “Janine” (1982) and “Poor things” (1992) is analyzed in the article. It is noted that A. Gray made a significant contribution to the formation of the Glasgian novel, the specificity of which is defined more exactly in the works of M. Burgess and M. Gregorova. It is shown that, like other Glasgian writers, in his works A. Gray reflects on the consequences of the dehumanizing influence of the city on a person, however, in contrast to them, he makes a choice in favor of protagonists who are simultaneously representatives of the working and middle classes. The author note that in the novel “Lanark” the city is shown through the prism of three-time layers: a nostalgic past, a bleak present and an apocalyptic future. It is indicated that mortality becomes the thematic dominant, as a result of which Glasgow acquires the features of the underworld. It is proved that in A. Gray’s prose the Glasgian locus acts as a “place of memory”, while the motive of “recreating” memories from fragmentary facts of urban life plays a significant role in order to reconstruct the historical appearance of Glasgow or create fictitious memories of it in the reader.
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Xavier T, Roy. "Novels Speak Reality: Ivanhoe, An Example." SMART MOVES JOURNAL IJELLH 8, no. 6 (2020): 43–49. http://dx.doi.org/10.24113/ijellh.v8i6.10629.

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Stories have been the source of moral lessons and entertainment, as far as the humankind of all the time, is concerned. The use of story- telling existed from the time immemorial. Stories appeared in the form of ballads and epics, in the ancient time, but later it took the shape of short and long fictions. The long fictions or novels varied in its theme and size. They are divided into many genres according to its subject matter- Gothic, Picaresque, Historical etc. The Ballad is nothing but a short story in verse. Its subjects are simple and memorable like adventure, love, war and the life etc. An Epic is a long tale in verse with famous heroes for its main characters. Iliad and Odyssey are examples. These stories gave the reader enjoyment and certain life-related ‘tips’. Hayden White, an American historian says, “the aim of the writer of a novel must be the same as that of the writer of the history”. Historians and Novelists wish to provide a verbal image of ‘reality’. A novelist may produce reality indirectly but this is meant to correspond to some sphere of human experience. He desires to pass the merits and demerits of such experience onto the readers, to enhance a better vision of life. Novelists are free to use fictitious characters and situations for the readers’ entertainment. Stories took its present prose form later in the middle ages. Decameron, a collection of stories by Boccaccio, was published in 1350. It deals with stories told by a group of people affected by Black Plague. They used these stories to get mental relief from the pandemic. ‘Canterbury Tales’ of Geoffrey Chaucer also, is telling the life-related stories by some pilgrims to the shrine of St. Thomas Becket at Canterbury. All these show that men were, from the early ages itself, used to tell stories to recollect the past and go forward with lessons of reality for a better life. Actually these stories are ‘historical facts’ blended with the imagination of the writers.
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Pandhare, Avinash L. "Kiran Desai’s Hullabaloo in the Guava Orchard: A Critique." SMART MOVES JOURNAL IJELLH 8, no. 7 (2020): 98–104. http://dx.doi.org/10.24113/ijellh.v8i7.10661.

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In Hullabaloo in the Guava Orchard, her debut novel, Kiran Desai has experimented in the making of a comic fable. She presents a hilarious story of life, love, and family relationships - simultaneously capturing the vivid culture of the Indian subcontinent and the universal intricacies of human experience. The story is set in a small Indian but fictitious town called Shahkot. Sampath is the protagonist who belongs to a middle class family. After experiencing drastic boredom in his life, Sampath decides to spend his life in trees. And then after, the story reveals its real mood. At a deeper level, the novel displays the theme of alienation, magic realism, rebellion, etc. Desai is a masterful dialogue writer, and she uses this skill to great effect in Hullabaloo in the Guava Orchard. She infuses the dialogue with local idioms and paints a vivid portrait of life in a small city in India. With a clear objective of writing a comic satire, she also makes a satirical attack against the creation of gurus in Indian society.
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Vasylenko, Vadym. "“Seignior Nicolo” by Yurii Kosach and Gogol text in ukrainian literature of the 20th century." Слово і Час, no. 1 (February 2, 2021): 87–104. http://dx.doi.org/10.33608/0236-1477.2021.01.87-104.

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In the context of the Ukrainian Gogol discourse of the 20th century, the paper analyzes fragments from the unfinished Yurii Kosach’s novel “Seignior Nicolo”, which deals with the history of Mykola Gogol. The researcher focuses on the peculiarities of Kosach’s understanding of Gogol and the worldview analogies of the two writers.
 The concept of symbolic autobiography is understood as a manifestation of the author’s self through the image and history of the other. Presenting the Roman episode in Gogol’s biography, Yurii Kosach tells his own symbolic story, and this relationship between fictitious and real stories functions as a certain way of the author’s symbolic self-representation in his text and through the text.
 The incomplete Yuri Kosach’s novel about Gogol is considered in the context of ideological discussions about the national and cultural identity of the writer, as a component of Gogol discourse in Ukrainian literature of the 20th century. The problem of Gogol’s duality, understood in ideological and psychological aspects, manifests a worldview split of Yurii Kosach himself, his own drama. Yuri Kosach’s re-thinking of Gogol’s figure must have been an attempt of destroying two main ideological myths: the Russian-imperial, based on the Soviet, socialist-realist Gogol’s cult, and the colonial one, rooted in the Ukrainian populist tradition.
 In addition, the paper pays attention to the sources of Kosach’s novel and clarifies the historical and psychological contexts of its creation, as well as its inter- and midtextual relations, both with Kosach’s works and Gogol discourse as a whole. It is argued that in the history of Gogol the writer considered the problem of cultural colonialism, both in the political and psychological aspects, in particular the problem of Gogol’s sexuality, ‘fear of sex’, which is associated with colonial subordination and the loss of masculinity.
 The main personal manifestation of Gogol in the novel by Kosach is a migrant, i. e. a man without ground, an artist without a motherland. The history of Gogol in Rome is examined through the relation of “Seignior Nicolo” to Gogol’s “Rome”, a comparison of the Roman text in Gogol’s and Kosach’s works
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Cimdiņa, Ausma. "Rīgas humānistu motīvs Roalda Dobrovenska romānā „Magnus, dāņu princis”." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 172–80. http://dx.doi.org/10.37384/aplkp.2021.26-1.172.

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The novel “Magnus, the Danish Prince” by the Russian diaspora in Latvia writer Roald Dobrovensky is seen as a specific example of a biographical and historical genre, which embodies the historical experience of different eras and nations in the confrontation of globalisation and national self-determination. At the heart of the novel are the Livonian War and the historical role and human destiny of Magnus (1540–1683) – the Danish prince of the Oldenburg dynasty, the first and the only king of Livonia. The motif of Riga’s humanists is seen both as one of the main ideological driving forces of the novel and as a marginal reflection in Magnus’s life story. Acknowledged historical sources have been used in the creation of the novel: Baltazar Rusov’s “Livonian Chronicle”; Nikolai Karamzin’s “History of the Russian State”; Alexander Janov’s “Russia: 1462–1584. The Beginning of the Tragedy. Notes of the Nature and Formation of Russian Statehood” etc. In connection with the concept of Riga humanists, another fictitious document created by the writer Dobrovensky himself is especially important, namely, the diary of Johann Birke – Magnus’s interpreter, a person with a double identity, “half-Latvian”, “half-German”. It is a message of an alternative to the well-known historical documents, which allows to turn the Livonian historical narrative in the direction of “letocentrism” and raises the issue of the ethnic identity of Riga’s humanists. Along with the deconstruction of the historically documented image of Livonian King Magnus, the thematic structure of the novel is dominated by identity aspects related to the Livonian historical narrative. Dobrovensky, with his novel, raises an important question – what does the medieval Livonia, Europe’s common intellectual heritage, mean for contemporary Latvia and the human society at large? Dobrovensky’s work is also a significant challenge in strengthening emotional ties with Livonia (which were weakened in the early stages of national historiography due to conflicts over the founding of nation-states).
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Gur, Zeev. "The Bathsheba Affair as a Royal Apology of King Solomon." Journal of Ancient Judaism 10, no. 3 (2019): 288–353. http://dx.doi.org/10.30965/21967954-01003003.

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Analysis of the story of David and Bathsheba in 2 Samuel 11:1–12:25 reveals that it possesses several layers. The report of the second Ammonite War, which represents the initial content of 2 Samuel 11:1–12:31 and serves as the basis of the original Bathsheba Affair story, glorified David as a great warrior and gracious king, who married the widow of his fallen-in-action officer, Uriah the Hittite, and adopted Uriah’s newborn son, Solomon. The later Bathsheba Affair story, written by a pro-Solomonic author during Solomon’s reign, introduced the arbitrary taking of Bathsheba, Uriah the Hittite’s wife, by David before her husband met a natural warrior’s death. According to this version, Bathsheba remained with David in his palace and conceived there. The story demonstrates that Solomon, Bathsheba’s firstborn child, was not Uriah’s son but rather, by claiming direct royal lineage to King David, was David’s legitimate successor to the Throne of Israel. The next three revisions of the story 1) introduced Nathan the Prophet’s accusations against David, presumed to have been written between the late ninth and late eighth centuries B.C.E. by a prophetic author; 2) replaced Solomon with a fictitious firstborn child, written by a Deuteronomistic writer in the exilic period; and 3) introduced David’s second transgression – the murder of Uriah – written by an anti-Davidic author in the post-exilic period.
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Cavaliere, Mauro. "Metaficción historiográfica y autoficción: diferentes compromisos con la referencialidad en Estação das Chuvas de José Eduardo Agualusa y Soldados de Salamina de Javier Cercas." Interlitteraria 24, no. 2 (2020): 479–94. http://dx.doi.org/10.12697/il.2019.24.2.16.

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Historiographic metafiction and autofiction: different commitments with the referentiality in Estação das Chuvas by José Eduardo Agualusa and Soldiers of Salamina by Javier Cercas. This article offers a comparative analysis of the novels Estação das Chuvas (1996) by the Angolan writer José Eduardo Agualusa (born in 1960) and Soldados de Salamina (2001) of the Spaniard Javier Cercas (born in 1962). The two novels belong to different geographical and cultural contexts. Nevertheless, a common sensibility – due perhaps to the same generational affiliation or to the prevalence of topics in force in the 1990s – makes evident the emergence of both a historical theme and the presence of a subject involved in historical processes. Ultimately, in both novels, we come across a subject that makes history although in quite different ways: involved firsthand in historical events with tragic implications, in the case of Agualusa, and absorbed in a reflection on apparently distant events in the case of Cercas. However, the result of the emphasis on the presence of a subjectivity within historical processes causes the two novels to share a common element, that is, a double generic affiliation. Both Estação das Chuvas and Soldados de Salamina actually share semantic traits that make it possible to classify them at the same time as autofictional novels and historiographic metafictions.
 Despite their common architectural matrix, the two novels represent two very different expressions within these genres. This manifests itself at different levels: first, the treatment of the autofictional character and, secondly, the treatment of the other characters. Through the analysis of the characters that populate these two novels, I will try to show how the two writers adopt divergent attitudes regarding the degree of referentiality in their works and how they end up proposing two different poetic options. In the analysis of the characters, I consider it useful to introduce a taxonomy that, in addition to including already existing types (referential, historical, fictitious characters), introduces other types hopefully useful to the study of the currently abundant number of fictions that, through an ambiguous narrative pact, are located between fiction and faction.
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Dissertations / Theses on the topic "Fictitious writer"

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Carpenter, Sarah Gerina. "Narratives of a Fall: Star Wars Fan Fiction Writers Interpret Anakin Skywalker's Story." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11989.

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viii, 94 p.<br>My thesis examines Star Wars fan fiction about Anakin Skywalker posted on the popular blogging platform LiveJournal. I investigate the folkloric qualities of such posts and analyze the ways in which fans through narrative generate systems of meaning, engage in performative expressions of gender identity, resistance, and festival, and create transformative works within the present cultural milieu. My method has been to follow the posts of several Star Wars fans on LiveJournal who are active in posting fan fiction and who frequently respond to one another's posts, thereby creating a network of community interaction. I find that fans construct systems of meaning through complex interactions with a network of cultural sources, that each posting involves multiple layers of performance, and that these works frequently act as parody, critique, and commentary on not just the official materials but on the cultural climate that produced and has been influenced by them.<br>Committee in charge: Dr. Dianne Dugaw, Chair; Dr. Lisa Gilman, Member; Dr. Debra Merskin, Member
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Landais, Clotilde. "La métatextualité du fantastique obvie nord-américain de l'extrême contemporain : la représentation littéraire de l'écrivain et de son double dans les romans de Stephen King et Patrick Sénécal." Paris 3, 2008. http://www.theses.fr/2008PA030012.

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À partir de l’étude de la représentation de l’écrivain fictif et son double dans deux textes de l’auteur états-unien Stephen King, le roman The Dark Half et la novella « Secret Window, Secret Garden », et dans deux romans de l’auteur québécois Patrick Senécal, Sur le seuil et Aliss, nous nous interrogeons sur la possible métatextualité du fantastique obvie nord-américain de l’extrême contemporain. Par un recours à différentes méthodes d’analyse et d’interprétation du récit, nous montrons que, dans les œuvres de notre corpus, ces deux auteurs de fantastique dit populaire emploient les mêmes outils stylistiques que les auteurs de littérature générale – procédés d’autoreprésentation, références intertextuelles, transgression des niveaux narratifs ou encore mise en relief de la fictionalité du texte. Par là, King et Senécal mènent à leur tour une réflexion sur l’écrivain, le processus créatif et le genre fantastique, sans pour autant renoncer à la monstration caractéristique du fantastique obvie. Ainsi, bien que les critiques opèrent généralement une césure entre un fantastique populaire et un fantastique littéraire, la frontière entre chaque catégorie est moins fermée qu’il n’y paraît. Notre étude montre en effet qu’un fort niveau de monstration n’exclut pas nécessairement une forte métatextualité. De plus, l’insistance sur la fictionalité du récit consécutive à la réflexion métalittéraire ne détruisant en rien l’effet fantastique, nous soutenons que, contrairement à la monstration, la métatextualité est constitutive du genre fantastique<br>Through a study of the representation of the fictitious writer and his doppelganger in two works of fiction by the U. S. Author Stephen King, the novel The Dark Half and the novella “Secret Window, Secret Garden,” and in two novels by the Quebec author Patrick Senécal, Sur le seuil and Aliss, I examine the possible metafictionality of contemporary North-American horror fiction. Drawing upon methods in literary analysis and textual interpretation, I show that, in these four texts, these two horror fiction authors use the same writing techniques as mainstream authors do – autorepresentation, intertextual references, transgression of narrative levels, and highlighting of a text’s fictionality. Thus, King and Senécal conduct a literary reflection on the artistic identity of the writer, on writing, and on the genre itself, without abandoning the horrific descriptions which characterize horror fiction. Although critics do make a clear distinction between horror fiction and fantastic fiction, the line between them can sometimes be blurred. Indeed, my study points out that a strong level of horrific description does not necessarily exclude a strong level of metafiction. Moreover, since the emphasis on a text’s fictionality resulting from the metafictional reflection does not ruin the fantastic effect, I argue that, unlike horrific descriptions, which are limited to horror fiction, metafictionality is inherent to the fantastic genre as a whole
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Birge, Amy Anastasia. ""Mislike Me not for My Complexion": Shakespearean Intertextuality in the Works of Nineteenth-Century African-American Women." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278175/.

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Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a hostile environment of slavery and racism ruled by the Prospero figure, the wielder of "white magic," who controls reproduction, fears miscegenation, and enforces racial hierarchy. The Miranda figure, associated with the womb and threatened by the specter of miscegenation, advocates slavery and perpetuates the hostile structure. The Ariel figure, graceful and ephemeral, usually the "tragic mulatta" and a slave, desires her freedom and complements the Caliban figure. Each novel signals the presence of the paradigm by naming at least one character from The Tempest (Caliban in Cooper's A Voice from the South; "Mirandy" in Harper's Iola Leroy; Prospero in Hopkins's Contending Forces; and Ariel in Hopkins's Hagar's Daughter).
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Dagnin, Donna. "Blue lies, white truths and grey areas : when layering memory with fictional narratives writes new histories : a multi-dimensional project based in a complex layering of real and fictitious characters and experiences, in order to question and create new definitions of history." Thesis, 2017. https://hdl.handle.net/10539/24423.

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Books on the topic "Fictitious writer"

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Roth, Philip A. The ghost writer. Vintage Books, 1995.

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Death of a Sunday writer. Foul Play Press, 1996.

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Death of a Sunday writer. Thorndike Press, 1997.

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Nichols, Joan Kane. Mary Shelley, Frankenstein's creator: First science fiction writer. Conari Press, 1998.

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illustrator, Allen Joy, ed. Cam Jansen and the mystery writer mystery. Puffin Books, 2008.

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Joy, Allen, ed. Cam Jansen and the mystery writer mystery. Viking, 2007.

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Triumph of the imagination: The story of writer J.K. Rowling. Chelsea House Publishers, 2002.

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M, Price Robert. H.P. Lovecraft and the Cthulhu mythos: Essays on America's classic writer of horror fiction. 2nd ed. Borgo Press, 1996.

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Writers' block. Magna Large Print Books, 2014.

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Wells, Rosemary. Ruby writes a story. Penguin Young Readers, An Imprint of Penguin Group (USA) LLC, 2015.

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Book chapters on the topic "Fictitious writer"

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Cinquegrani, Alessandro. "Il ritorno a casa secondo Primo Levi." In «Un viaggio realmente avvenuto». Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-344-1/030.

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Primo Levi recounts two journeys: a real one in La Tregua, and a fictitious one in Se non ora, quando? In both cases he has to deal with the romance’s structure and its stereotypes, which tend to negate realism. For this reason the writer adopts proceedings to defuse romance and happy ending.
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Magrinyà, Carles. "Liminality, Migration and Transgression in El Metro by Donato Ndongo-Bidyogo." In Narratives Crossing Borders: The Dynamics of Cultural Interaction. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.o.

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My investigation aims to contribute to the understanding of the functionality of the fictitious border zones and how characters relate to spaces that put them in contact with the transitory, that is, liminal characters and spaces. In this sense I will work with the concept of liminality developed by anthropologists Arnold Van Gennep and Victor Turner. The object of study is El metro (2007), by Equatorial Guinean writer Donato Ndongo, and it is an example of the contemporary Equatoguinean novel in Spanish. My contribution focuses on how narrator and characters perceive and relate to liminal spaces (boats, beaches, the subway), and it touches upon the ambivalent relationship between the emigrant from sub-Saharan Africa and Western culture during the years of economic crisis in Spain.
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Barbantani, Silvia. "Hellenistic and Roman Military Epitaphs on Stone and on Papyrus." In Greek Epigram from the Hellenistic to the Early Byzantine Era. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198836827.003.0010.

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Chapter 10 studies Hellenistic and Roman military epitaphs and addresses a number of interconnected issues: the unpopularity of epitaphs for individual soldiers in the Greek Anthology (only a dozen of such epigrams are present, leaving side fictitious pieces for literary or historical figures); the near absence of inscribed epitaphs in literary sources, despite the fact that they are often of good literary quality; and the question of their authorship: there is no evidence that any epigrammatist known from the Greek Anthology also acted as a professional writer of military epitaphs, as Simonides did. Epitaphs for common soldiers were usually commissioned to professional poets, most of whom now remain anonymous; in some cases the deceased, especially when he presents himself as a veteran belonging to the local elite, may have had his say on the contents and form of his future epitaph.
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Coulmas, Florian. "10. Who is behind the mask? Identity in literature." In Identity: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198828549.003.0010.

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In literature, we can find all aspects and dimensions of identity: identity through time, the mind–body problem, the identity of words and things, gender boundaries, identity crisis, divided loyalty, mistaken identity, split identity, and the demands of modernity for individuals to have a national, social, and gender identity. ‘Who is behind the mask? Identity in literature’ provides a range of illustrative examples. In addition to substantial questions of identity, the art of literature is also concerned with identity in two formal ways. Style expresses the identity of fictitious characters as well as of writers. Finally, by creating fictitious worlds, literature constructs identity puzzles in its own right.
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Höcker, Arne. "Conclusion." In The Case of Literature. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749353.003.0005.

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This chapter explains that, without any doubt, Goethe's and Moritz's novels as well as Schiller's and Kleist's novellas are part of today's German literary canon. But just as certainly, this literary canon did not yet exist around 1800. It cannot even be assumed that the writers of these texts considered themselves literary authors. Werther and Anton Reiser conceal Goethe's and Moritz's authorship, and instead frame their novels by means of a fictitious editorship. In Schiller's and Kleist's novellas, the reference to the truthfulness of the story and the historically documented origin of the material have a similar function. What might have been the premises of and motivations for writing about cases for Goethe, Moritz, Schiller, and Kleist when we assume that they did not write as literary authors? The reading of their cases as literary fiction obscures the fact that these novels and novellas might just as well be understood as vehicles for lawyers, medical doctors, pedagogues, and philanthropists to inform each other about the legal and mental status of the individual and, thus, to continue the medical and legal traditions of thinking, arguing, and writing in cases. And yet the close reading of these texts shows that in them the representation of cases began to change.
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6

McCracken, Saskia. "Virginia Woolf and Aldous Huxley in Good Housekeeping Magazine." In The Modern Short Story and Magazine Culture, 1880-1950. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474461085.003.0010.

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In 1931, Virginia Woolf was commissioned to write a series of six articles for Good Housekeeping, a middlebrow women’s magazine, which have typically been read by critics as five essays and a short story. Woolf’s series takes her readers on a tour of the sites of commerce and power in London, from the Thames docks and shops of Oxford Street, to ‘Great Men’s Houses,’ abbeys, cathedrals, and the House of Commons, ending with a ‘Portrait’ of a fictitious Londoner. This chapter has three aims. First, it suggests that Woolf’s Good Housekeeping publications can be read not simply as five essays and a short story, but, considering Woolf’s ethics of the short story, as a series of short stories or, as the magazine editors introduced them, word pictures and scenes. Secondly, this chapter argues that Woolf’s Good Housekeeping series responds to, and resists the Stalinist politics of, Aldous Huxley’s series of four highbrow essays on England, published in Nash’s Pall Mall Magazine. Finally, this chapter analyses a critically neglected short story by Ambrose O’Neill, ‘The Astounding History of Albert Orange’ (February 1932), published in Good Housekeeping, which features both Woolf and Huxley as characters, and which critiques, satirises, and destabilises the boundaries of highbrow literary culture. Thus, the focus turns from highbrow writers’ short stories to a story about highbrow writing, all published in the supposedly middlebrow Good Housekeeping, demonstrating the rich complexity of the magazine, its varied politics, and its generically hybrid publications.
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7

Ward, Ian. "Thinking the Unthinkable." In The Play of Law in Modern British Theatre. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474450140.003.0003.

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This chapter concentrates on the legal and political issues that arose during the so-called ‘war on terror’ in the first decades of the twenty-first century. Issues that were addressed, very directly, in a series of ‘verbatim’ plays written and produced in that moment. Amongst the most renowned were the so-called ‘Tribunal’ plays written by Richard Norton-Taylor. The genre, as the nomenclature suggests, sought to re-present various high-profile cases and judicial inquiries on the public stage. Whilst the chapter considers a number of different ‘verbatim’ plays, it focusses more closely on Norton-Taylor’s Called to Account. This play is unusual in that it presents a ‘virtual’ history of a fictitious trial, on war crimes charges, of the former Prime Minister, Tony Blair. In so doing, it challenges the defining pretence of the ‘verbatim’ genre; that the simple presentation of legal and quasi-legal transcript confirms the veracity of the text.
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8

Dutsch, Dorota M. "Ipsa Dixit." In Pythagorean Women Philosophers. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859031.003.0007.

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Chapter IV analyses five fictitious letters of advice from the early Imperial period by Melissa, Myia, and Theano. These letters (like Platonic epistles) remain in tension with theoretical discourses. The chapter offers close readings of each of them to demonstrate that Pythagorean women offer a subtle critique of medical and philosophical texts on a number of topics, including infants, the education of children, and relationships with slaves. This strategy is particularly prominent in Myia’s letter about hiring a wet nurse, which goes against the advice of medical writers and Stoic philosophers, but corresponds to the practice and advice preserved in Greek letters from Egypt from this period. More clearly than the treatises, the letters are concerned with women’s interest, while expressing confidence in the intellectual potential of both elite and non-elite women, making a strong case for women’s knowledge based on lived experience.
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9

"Introduction: towards a sociology of debt." In The Sociology of Debt, edited by Mark Featherstone. Policy Press, 2019. http://dx.doi.org/10.1332/policypress/9781447339526.003.0001.

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In this introductory chapter I consider the diverse meanings of the idea of debt in the contemporary world. Starting with the current problem of apparently ever-expanding debt, I explain the origins of the globalisation of the condition of indebtedness through a discussion of processes of financialisation, where money is entirely virtual and weightless. In order to situate the idea of financialisation in a sociological context, I show how the financial crisis of 2007-2008 gave weight to the weightless fictitious capital of the fully financialised world in the form of the dead weight of debt that crushes the indebted and creates a new power relation, which Maurizio Lazzarato writes of in terms of the creditor / debtor relation. While economics tends to conceive of debt in terms of number and objective mathematical calculation, the idea of the weight of debt focus upon the subjective experience of indebtedness founded upon a particular subordinate subject position, the debtor, which it then becomes possible to understand sociologically and critically oppose on the basis of different value systems.
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10

"Ghosh [1982] QB 1053; 2 All ER 689 a two point test was developed. Two questions had to be asked: (1) Was what was done dishonest according to the ordinary standards of reasonable and honest people? If the answer is ‘no’ the defendant is not guilty as there is no proved dishonesty and a vital element of the actus reus is unproved. If the answer is ‘yes’ then the second question has to be asked, (2) Did the defendant realise that reasonable and honest people regard what he did as dishonest? If the answer is yes then the defendant is guilty. In our case Mary may well find that the answer to the first question would come in as ‘no’ and she escapes liability. Should it not, the second question should be answered in the negative and she still escapes liability. Most reasonable and honest people would regard the taking of the money in the precise circumstances reasonable and not dishonest. The discussion of the issue of permanent deprivation as a core aspect of the mens rea would next be discussed. However, this demonstration is to indicate the relation ship between factual and legal analysis and the way in which factual analysis facilitates legal analysis and argument construction. The standard legal problem question (which will be discussed in Chapter 8) is of course less obviously liable to give the information required for a full factual analysis. However, in terms of knowing what to look out for at the level of facts and evidence, it allows the map of potential areas to be developed. 7.12 TASK: THE CASE OF R V JACK For those of you who would like to test your skills further there is another charting task with a set of witness statements in the fictitious case of R v Jack. The law applicable is again s1(1) of the Theft Act. (1) Construct your own Wigmore chart and keylist for the defence. (2) Use your chart to determine the strengths and weaknesses of the prosecution case. (3) What further evidence would be useful for either party. (4) Write out an argument for the prosecution to prove that Jack is guilty. (5) Write out an argument for the defence to prove that Jack is guilty. There is no necessarily correct answer, and the statements are provided as an opportunity for developing your skills in the area of factual analysis and argument construction either in or out of a classroom setting. 7.12.1 Statements relating to the case of R v Jack 7.12.1.1 R v Jack Statements for Wigmore Chart Jack has been charged with theft (contrary to s1(1) of the Theft Act 1968) of a shirt from the New Style Clothes Shop on 12 September. Below, you will find witness statements. Read them carefully and construct a modified Wigmore Chart for the defence." In Legal Method and Reasoning. Routledge-Cavendish, 2012. http://dx.doi.org/10.4324/9781843145103-203.

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