Relevant bibliographies by topics / Goldoni in fiction

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Goldoni in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Goldoni in fiction"

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Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.

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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.
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MASSA, ANN. "Henry Blake Fuller and the Cliff Dwellers: Appropriations and Misappropriations." Journal of American Studies 36, no. 1 (2002): 69–84. http://dx.doi.org/10.1017/s0021875802006795.

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The relative obscurity of Chicago's Henry Blake Fuller (1857–1929), a prolific essayist, journalist, reviewer and novelist, with collections of plays, poems and short stories to his name, in part derives from the difficulty of placing him: the work resists classification. His early fiction, for instance, reflects, debates and sometimes satirises the alternating influences of Howells and James. The Cliff-Dwellers (1893) and With the Procession (1895), “American” novels, are framed by such “European” fictions as The Chevalier of Pensieri-Vani (1890) and Waldo Trench and Others: Stories of Americans in Italy (1908). His closet homosexual novel Bertram's Cope's Year (1919), a translation of Goldoni's The Fan (1925) and the non-fictional Gardens of this World (1929) testify to an incremental diversity. Characteristically, his last work, the posthumously published novel Not on the Screen (1930), which projects the interactive mimicry of “real” life and cinema, saw Fuller exploring fresh thematic and formal territory.
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Butler, Catherine. "Lost Futures: Reading, Memory, and Repression." International Research in Children's Literature 14, no. 2 (2021): 156–68. http://dx.doi.org/10.3366/ircl.2021.0394.

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Children's novels sometimes allude to events in the lives of their protagonists after the end of the main narrative, either through the assertions of authoritative narrators or the speculations of child characters themselves. Such predictions offer a hostage to fortune, however, for history may take a different direction from that envisaged by the narrative. In such cases, readers must find a way to navigate the contradictions between fictional and actual histories. That navigation is always potentially problematic, but perhaps particularly so in the case of Golden Age fictions such as Peter and Wendy (1911) and The Story of the Amulet ( 1906 ), the child protagonists of which were the right age to have reached adulthood with the advent of the Great War. This article describes the strategies developed by later readers and writers to cope with the disjunction between historical and fictional futures.
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de Armas, Frederick A., and B. W. Ife. "Reading and Fiction in Golden-Age Spain." Hispania 71, no. 2 (1988): 292. http://dx.doi.org/10.2307/343045.

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Burr, Jordan. "Entropy’s Enemies: Postmodern Fission and Transhuman Fusion in the Post-War Era." Humanities 9, no. 1 (2020): 23. http://dx.doi.org/10.3390/h9010023.

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In the early to mid-twentieth century, thermodynamic entropy—the inevitable diffusion of usable energy in the Universe—became a ubiquitous metaphor for the dissolution of Western values and cultural energy. Many Golden Age science fiction writers portrayed twentieth century technological progress as anti-entropic, a sign of Universal progress and unity which might postpone or negate both cultural and thermodynamic forms of entropy. Following the evolutionary metaphysics of Georg Hegel and Pierre Teilhard de Chardin, Golden Age science fiction writers like Arthur C. Clarke and Isaac Asimov imagined the creation of powerful collective beings whose unitary existence signified the defeat of entropy. In contrast, later literary postmodernists like Thomas Pynchon and Pamela Zoline often accepted and even exalted in the chaotic, liberating potential of entropy. In postmodern fiction, the disorder of entropy was often compared favorably to the stifling hegemony of cultural universalism. More broadly, these two responses might be understood to represent two societal stages of grief-- denial and acceptance—to the new trauma introduced to the world by the parallel concepts of cultural entropy and a Universal “heat death.”
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HARBERS, H. "Onromantische Romantiek of waarom Petra Golden Fiction rookt." Spiegel der Letteren 27, no. 1 (1985): 45–69. http://dx.doi.org/10.2143/sdl.27.1.2014553.

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Green, Andrew, and Roger Dalrymple. "Playing at Murder: The Collaborative Works of the Detection Club." Crime Fiction Studies 2, no. 1 (2021): 63–78. http://dx.doi.org/10.3366/cfs.2021.0034.

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This paper explores the inter-war collaborative works of the Detection Club as a source of commentary and insight on the ludic and dialogic nature of Golden Age detective fiction. Less well known than the single-authored works of Detection Club members, the multi-authored Behind the Screen, The Scoop, The Floating Admiral, Ask a Policeman and Six Against the Yard capitalise upon the genre's capacity for intertextual play and self-conscious engagements with literary formula and convention. By adopting a range of collaborative approaches and working in different combinations, the joint authors (including Berkeley, Christie, Crofts, and Sayers) construct playful textual ‘spaces’ that foreground gameplay and dialogism as key dynamics in the writing and reception of detection fiction. The discussion deals with the texts and their games in two groupings, showing the appositeness of Barthes' notion of the ‘writerly text’ and Bruner's concept of subjunctivity to the first grouping, and of Bakhtinian dialogism and ‘carnival’ to the second. Attention is thus drawn to the richness of these texts as a source of commentary and illustration of the signature playful dynamic of Golden Age detective fiction.
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Bolton, Sophie. "The Collins Crime Club." Logos 31, no. 4 (2021): 69–73. http://dx.doi.org/10.1163/18784712-03104005.

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Abstract The interwar years in Britain are regularly referred to by historians and literary commentators as the Golden Age of detective fiction (c. 1920–1940). This article focuses on the Collins imprint the Crime Club, established in 1930. It assesses the significance of this imprint in the context of the Golden Age, with a focus on its commercial animus, drawing on theories about class-based markets and the commercialization of print culture. The article examines the marketing methods used by the Crime Club to promote its titles, such as newsletters and card games, and takes into consideration the arguments of 1930s literary critics. It aims to show that detective fiction had a significant role in the commercialization of print culture during the 1930s and that its success heavily relied upon the support of a middle-class readership.
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Chan, Leo Tak-hung. "Does the Narrator Get Translated Into Chinese?" Babel. Revue internationale de la traduction / International Journal of Translation 44, no. 1 (1998): 46–64. http://dx.doi.org/10.1075/babel.44.1.04cha.

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Abstract The translation of narrative fiction, unlike that of poetry and drama, has received little critical attention, because it has not been deemed distinctive enough to merit study in its own right. The purpose of the article is to define the literary-critical approach to evaluating translated fiction, first by showing its reverse, the language-oriented approach, and then closely analyzing three instances where it is deployed. Then attention will be focused on one problem area and it is seen that shifts on a micro-structural level can create an effect on macro-structural elements, producing changes significant enough to give rise to alternative interpretations of the text. With specific examples from variant Chinese translations of E.M. Forster's A Passage to India, William Golding's Lord of the Flies, John Fowles' The Collector, and J.D. Salinger's The Catcher in the Rye, this article shows how the failure to "translate the narrator" belies in fact a failure to tune in to the literary qualities of a fictional text. To translate a novel adequately, one needs to take into account not just contextual meaning, but also "co-textual" or "inter-textual" meaning, the literary significance generated within the text itself. Résumé Contrairement à la traduction de poèmes et d'oeuvres dramatiques, la traduction des ouvrages de fiction narrative a moins été soumise à l'étude critique, parce qu'elle a toujours été considéréé comme une forme moins distinguée, méritant moins d'être étudiée en tant que telle. Le but du présent article est de définir une approche littéraire et critique permettant d'évaluer la traduction des oeuvres de fiction. L'article analyse en premier lieu une approche orientée vers le langage, et ensuite trois exemples qui concrétisent cette approche. L'attention du lecteur est attirée sur un passage à problèmes et ensuite, il découvrira que des glissements opérés au niveau micro-structurel sont susceptibles de produire un effet sur les éléments macro-structurels et d'entraîner par conséquent des altérations capables de donner lieu à différentes interprétations du texte. A l'aide d'exemples extraites de plusieurs traductions chinoises de A Passage to India (E.M. Forster), Lord of the Flies (William Golding), The Collector (John Fowles) et The Catcher in te Rye (J.D.Salinger), l'article tente de démontrer que l'incapacité du traducteur à "traduire le narrateur" n'est autre que son incapacité à se mettre au diapason des qualités littéraires du texte de fiction. Pour traduire correctement un roman, le traducteur ne peut pas uniquement tenir compte de la signification contextuelle mais aussi de la signification "co-textuelle" ou "inter-textuelle", c'est-à-dire de la signification littéraire engendrée par le texte lui-même.
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Plain, Gill. "‘Tale Engineering’: Agatha Christie and the Aftermath of the Second World War." Literature & History 29, no. 2 (2020): 179–99. http://dx.doi.org/10.1177/0306197320945945.

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The ‘golden age’ of clue-puzzle detective fiction is usually considered to end in 1939 with the outbreak of the Second World War. Yet Agatha Christie, the most high-profile and successful exponent of the form, continued to produce bestselling novels until her death in 1976. This essay examines three novels from the immediate postwar period to consider how she adapted her writing to negotiate a changing world and evolving fashions in genre fiction. Engaging with grief, demobilisation, gender, citizenship and the new fears of the atomic age, Christie proves unexpectedly attentive to the anxieties of a new modernity.
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Dissertations / Theses on the topic "Goldoni in fiction"

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Burner, Colleen. "Sister Golden Calf: Stories, Dissections, & A Novella." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/2081.

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Children find decomposing bodies on a beach. A girl becomes a ghost and finds someone. A dog dies but its owner is out of his mind and eating waffles. Sheep are a perfect species. A woman experiences a pregnancy that is out of this world! A raccoon dies and you watch its body break down. A father does his best fathering. You take a textual road-trip tour of America’s oldest hobby. A trauma is slowed down, picked apart. A soupfin shark is dissected and you watch. A homestead becomesa ghost town in rural Oregon. Joseph Beuys is an artist. A sister falls in love with an object, has a difference of opinion with her sister.
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Alsamaan, Moyassar. "The fiction of William Golding : a study in contradictions." Thesis, University of Stirling, 1992. http://hdl.handle.net/1893/12550.

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This thesis undertakes a study of the contradictions embedded in Golding's fiction. It is difficult, as I attempt to show, to treat Golding under the rubric of revolutionary, conservative, liberal humanist, optimistic or pessimistic writer separately. Golding's fiction shows a mind which is at once creative and enmeshed in the mysteries of the universe. However, I attempt in this study to shed light on the many contradictions which I think are present in his work. For this purpose, I concentrate on eight novels as the objects of my analysis. Lord of the Flies, Golding's first novel, displays a contradiction which is at the heart of Golding's vision. WhiIe Golding tries hard to show the hardness of man’s heart, he risks falling into pointlessness if the project were to end only on this note. Golding is caught up in the dilemma of at once believing in Original Sin and wanting to see an alternative future for humankind. If man is "originally" incapable of harmonious living, how is he ever to achieve this harmony? In Pincher Hartin, Golding delves deeper into a religious dogmatism which believes in individual greed. This greed, however, threatens ultimately to undo the "system" within which it exists. But if Golding tries hard to eliminate this individual greed, how then can he emphasise that man is originally sinful? With the removal of this greed and many other sins with it, man is likely to become "pure", something which Golding does not believe in. In Free Fall, Golding explores the idea of art for art's sake. One of the problems of this idea is that it leaves the political implications of any situation completely intact. The Spire enacts a different kind of contradiction. Jocelin, in one sense a saintly figure who can "see" more intuitively than the others, is driven into despair at his own creation. He ultimately loses faith in his own "powerful" vision. In The Paper Men, Golding embarks on a new way of treating his own themes. In its technique, this novel is closer than any of the others to postmodernist literature in its permutations, displacements, and indecisiveness. As for the trilogy, here Golding reaches a position where he can confidently be described as a liberal humanist. The trilogy paradoxically shows Golding at his best. The contradictions of the protagonist Edmund Talbot "reflect" those of a social class that has within it the features of both the aristocracy and the bourgeoisie. At the end, Golding does not "solve" these contradictions and he leaves us with a proposition that could see the end of all literary criticism and analysis. It is in the conclusion to this study that I address this problem.
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McDonald, Bonny. "Buried Alive: Hard Science Fiction Since the Golden Age." TopSCHOLAR®, 2005. http://digitalcommons.wku.edu/theses/461.

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A substantial body of science fiction authors, critics and fans appreciate the literary attention the New Wave of the '60s and '70s brought to the genre of science fiction, but regret the seemingly lasting move away from the hard science classics of the '50s and before. They argue that "the hard stuff' is at the very heart of sf and that its future—still on the path set by the New Wave—is ostensibly a dead end. Many important critics along with hundreds of sf fan websites display this fatalistic concern, asking over and over "Is hard science fiction dead?" The answer is no. These reactionaries suffer from a serious case of the Good Old Days Syndrome (not to mention the Good Old Boys Syndrome). A close look at the state of the genre reveals that hard sf is not only alive and well but also that contemporary hard sf is more in line with its critics' definition of hard sf than the very stories they cite as exemplars of it. Contrary to the accusations of noted sf critics, it may well be that a new golden age of sf is dawning, one with an even truer scientific core as well as a commitment to literary quality. This thesis will expose the curious contradiction between the hard and soft / old and new sf. The introduction will examine the definition of hard sf and declarations of its unfortunate demise. Each of three chapters will compare two stories—one from sf s Golden Age and another after the supposed death of the genre. In each, I will show how classic examples of hard sf regularly fail to meet the objective, scientific criteria they purport to uphold and how contemporary stories—even while focusing (to varying degrees) on the political and personal—better espouse the principles of hard sf. Ultimately, it seems that those who descry hard sf s death miss not the technical aspects of hard sf that, even by their definition, distinguish it from softer sf, but the traditional Golden Age values of male dominance, imperialism, and anti-emotionalism. Newer stories' feminism and redefinitions of progress blind conventional readers to their truly hard-core, science-based foundations. The conclusion will consider what hard sf s paradigm shifts mean in terms of our evolving relationship to science. Specifically, in our technological age, science is not merely a field that studies how things work, but a field that can help us to illuminate and interpret our place in the universe. Ultimately, hard science fiction is not dead, it's just doing something different from what it used to.
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Paul, Sara R. "Stories from a Golden State." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1772.

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Bitel, Anton. "Quis ille? : alter egos in Apuleius' 'Golden Ass'." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365762.

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Walton, Samantha. "Guilty but insane : psychology, law and selfhood in golden age crime fiction." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7793.

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Writers of golden age crime fiction (1920 to 1945), and in particular female writers, have been seen by many critics as socially and politically detached. Their texts have been read as morality tales, theoretically rich mise en scenès, or psychic fantasies, by necessity emerging from an historical epoch with unique cultural and social concerns, but only obliquely engaging with these concerns by toying with unstable identities, or through playful, but doomed, private transgressions. The thesis overturns assumptions about the crime novel as a negation of the present moment, detached and escapist, by demonstrating how crime narratives responded to public debates which highlighted some of the most pressing legal and philosophical concerns of their time. Grounded in meticulous historical research, the thesis draws attention to contemporary debates between antagonistic psychological schools – giving equal space to debates within psychoanalysis and adaptive neuroscience – and charts how these debates were reflected in crime writing. Chapter two explores the contestation of the M’Naghten laws on criminal responsibility in light of Ronald True’s case (1922), followed by readings of crime narratives in which perpetrators have ambiguous and controversial legal status in regard to criminal responsibility. At the intersection of psychiatric discourse and the popular literary imagination, a critical and ethical perspective developed which not only conveyed a version of psychological discourse to a wider public, but profoundly reworked the foundations of the genre as the ritual unveiling of deviancy and the restoration of the rational institutions of society. In similar vein, chapter three explores the status of the ‘Born Criminal’ in law and medicine, and looks at crime writer Gladys Mitchell’s efforts to expose both the pitfalls of categorisation, and competing discourses’ limitations in adequately accounting for crime. Chapter four, whilst maintaining close medical-legal focus, opens up the study to consider how understandings of deviant selfhood in modernist writing inflected crime writers’ representations of unconscious and epileptic killers. Finally, chapter five continues this intertextual approach by asserting that certain crime novels express an exhaustion with the genre’s classic rational and scientific heroes, and turn instead to the affective epistemologies and notions of subconscious synthesis concomitantly being celebrated in modernist writing. Altering the position of the authoritative detective in ways that profoundly alter the politics of the form, the chapter and the thesis in total propose a reading of golden age crime fiction more responsive to cultural, psychological and legal debates of the era, leading to a reassessment of the form as neither escapist nor purely affirmative of the status quo.
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Hoffman, Megan. "Women writing women : gender and representation in British 'Golden Age' crime fiction." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/11910.

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In this thesis, I examine representations of women and gender in British ‘Golden Age' crime fiction by writers including Margery Allingham, Christianna Brand, Agatha Christie, Ngaio Marsh, Dorothy L. Sayers, Josephine Tey and Patricia Wentworth. I argue that portrayals of women in these narratives are ambivalent, both advocating a modern, active model of femininity, while also displaying with their resolutions an emphasis on domesticity and on maintaining a heteronormative order, and that this ambivalence provides a means to deal with anxieties about women's place in society. This thesis is divided thematically, beginning with a chapter on historical context which provides an overview of the period's key social tensions. Chapter II explores depictions of women who do not conform to the heteronormative order, such as spinsters, lesbians and ‘fallen' women. Chapter III looks at the ways in which the courtships and marriages of detective couples attempt to negotiate the ideal of companionate marriage and the pressures of a ‘cult of domesticity'. Chapter IV considers the ways in which depictions of women in schools, universities and the workplace are used to explore the tensions between an expanding role in the public sphere and the demand to inhabit traditionally domestic roles. The thesis concludes with a discussion of the image of female victims' and female killers' bodies and the ways in which such depictions can be seen to expose issues of gender, class and identity. Through its examination of a wide variety of texts and writers in the period 1920 to the late 1940s, this thesis investigates the ambivalent nature of modes of femininity depicted in Golden Age crime fiction written by women, and argues that seemingly conservative resolutions are often attempts to provide a ‘modern-yet-safe' solution to the conflicts raised in the texts.
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Bright, Brittain. "Beyond the scene of the crime : investigating place in Golden Age detective fiction." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/11637/.

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Place is both physical and conceptual; in fiction, place offers an initial basic orientation, but also fulfills many more complex roles. This thesis considers place in the Golden Age detective novels of Agatha Christie, Gladys Mitchell, and Dorothy L. Sayers to establish place as a point of critical engagement, and uses place to re-consider influential works in the genre. The exploration of place uncovers textual clues that are not necessarily detective clues, complicating these novels and dismantling deceptive assumptions about the homogeneity of the Golden Age. The evidential place, or “the scene of the crime”, provides a physical setting for the crime itself and the clues that it generates, but it is rarely the most important or revelatory place in a detective story. Christie developed a place-typology that defined much of her work: the house, the village, London, and the holiday convey distinct meanings from early in her career. These places evolve over decades of social commentary, but each maintains a core of structural meaning. Character and place often develop in tandem, and Mitchell is particularly interested in the distortions of the relationship between the two. She rejects the rationality of the genre, and uses place and focalization to embed psychological questioning in her novels. Sayers considers place a central “artistic unity” of the novel. She presents place as a socially constructed unit, and through notions of “belonging” or being “out of place”, she interrogates structures of milieu. Place becomes a central focal point in her later novels, through which she questions contemporary values and identities. In all of these authors’ work, the detective is a figure representative of modernity, developed through his or her relationship to place. Place also takes the investigation outside of purely plot-based channels, and into sociological and psychological areas of questioning.
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Hall, Graham. "The Ambivalence of Science Fiction: Science Fiction, Neo-imperialism, and the Ideology of Modernity as Progress." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/948.

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This thesis sets out to examine the relationship between science fiction and its conditions of production, specifically interrogating the genre's articulations of the ideology of modernity as progress. Sf has been characterized variously as a characteristically useful critical engagement with the ideologies of its context and as wholly ideological at the level of form, relying on the authority of a scientific episteme in its "cognitive estrangements," while not obligated to operate within the boundaries of this episteme. As such, the genre is unparalleled in its capacity to articulate ideologies under the guise of a putatively neutral science and reason. However, this same formal action places the genre in the unique position of being able to utilize the authority of a scientific episteme to re-evaluate the putative neutrality of that very scientific episteme. As a result, this study concludes that while the genre's reliance on the external authority of science in "cognitively" organizing its estrangements may make it particularly conducive to articulating ideological technoscience and the ideology of modernity as progress, the genre is characteristically ambivalent in this respect, both at the level of form and as a result of the incongruities between form and narrative. To support my thesis I engage a number of science fictional texts, focusing on Golden Age sf of the mid-20th century, while also branching out into explorations of a variety of 20th and 21st century sf texts, including texts from the pulp era, New Wave, cyberpunk, and post-singularity sf. I analyze within the effects of the conceptual mapping of society in terms of the natural sciences in sf, as well as the ambivalent presence of the robot as a megatextual motif, exploring the relationship of these to the ideology of modernity as progress and the post-scarcity fantasy of global mass consumption prosperity.
B.A.
Bachelors
Arts and Humanities
English - Literature
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Gillis, S. J. "Detecting fictions : resistance and resolution in the golden age detective novel." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341176.

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Books on the topic "Goldoni in fiction"

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Redpath, Philip. William Golding: A structural reading of his fiction. Vision, 1986.

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Redpath, Philip. William Golding: A structural reading of his fiction. Barnes & Noble, 1987.

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A, Caras Roger. Love of goldens: A tribute to golden retrievers. Barnes & Noble Books, 1999.

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Hoffman, Megan. Gender and Representation in British ‘Golden Age’ Crime Fiction. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53666-2.

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1968-, Berger Todd R., Carey Alan, and Carey Sandy, eds. Love of goldens: The ultimate tribute to golden retrievers. Barnes & Noble Books, 1999.

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R, Reginald, and Burgess Mary Wickizer 1938-, eds. Futurevisions: The new golden age of the science fiction film. Borgo Press, 1985.

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Golden. Top Shelf, an imprint of Torquere Press Publishers, 2013.

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Wade, John. Golden Age of Science Fiction. Pen & Sword Books Limited, 2019.

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The Golden Age Of Crime Fiction. Prion, 2013.

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Wells, H. G., White T. H, Doyle Arthur Conan, et al. The Golden Age of Science Fiction. Bonanza Books, 1988.

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Book chapters on the topic "Goldoni in fiction"

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Broderick, Damien. "The Second Golden Age." In Consciousness and Science Fiction. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00599-3_5.

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Wilbanks, Rebecca. "Incantatory Fictions and Golden Age Nostalgia: Futurist Practices in Contemporary Science Fiction." In The Palgrave Handbook of Twentieth and Twenty-First Century Literature and Science. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48244-2_13.

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Roberts, Adam. "Golden Age Science Fiction 1940–1960." In The History of Science Fiction. Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230554658_10.

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Irwin, Robert. "History, Fiction and Film. Islam Faces the Crusaders." In Jerusalem the Golden. Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.outremer-eb.1.102332.

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Roberts, Adam. "Golden Age SF: 1940–1960." In The History of Science Fiction. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_11.

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Yaszek, Lisa. "Good SF: Teaching the Golden Age as Cultural History." In Teaching Science Fiction. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230300392_7.

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Rowland, Susan. "The “Classical” Model of the Golden Age." In A Companion to Crime Fiction. Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444317916.ch8.

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Cook, Michael. "Golden Age Gothic: John Dickson Carr’s Locked Room." In Detective Fiction and the Ghost Story. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137294890_7.

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9

Miller, Brook. "Scriptive Consciousness and Embodied Empathy in The Golden Notebook." In Self-Consciousness in Modern British Fiction. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137076656_7.

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10

Morelock, Jeremiah. "Science, medicine, and society from the “Golden Ages” to 2020." In Pandemics, Authoritarian Populism, and Science Fiction. Routledge, 2021. http://dx.doi.org/10.4324/9781003003779-2.

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