Relevant bibliographies by topics / Hanging – Fiction

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Academic literature on the topic 'Hanging – Fiction'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Hanging – Fiction"

1

Weinstein, Margery Topper. "The Hanging Man." After Dinner Conversation 4, no. 6 (2023): 51–56. http://dx.doi.org/10.5840/adc20234656.

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Is a dead homeless person social commentary? Is a dead homeless person art? In this philosophical short story fiction, the narrator goes to an upscale, “undiscovered artists” experience in New York City. While at the event she realizes there is a dead homeless person hanging from the ceiling in the corner. Nobody seems to mind, and she assumes people just haven’t noticed. As the show finishes, she realizes people do notice, are not offended and, in fact, simply consider the dead person is part of the artistic experience. The narrator questions the security guards who explain the homeless perso
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2

MADSEN, DEBORAH L. "Hawthorne's Puritans: From Fact to Fiction." Journal of American Studies 33, no. 3 (1999): 509–17. http://dx.doi.org/10.1017/s0021875899006222.

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Nathaniel Hawthorne's view of his first American ancestors as belonging to a grim and gloomy race, impatient with human weaknesses and merciless towards transgressors, reflects a wide-spread popular attitude towards the Massachusetts Bay colonists. Indeed, Hawthorne's contribution to the construction and perpetuation of this view is not inconsiderable. Hawthorne frankly confesses to his own family descent from one of the “hanging judges” of the Salem witchcraft trials, and he does not spare any instance of persecution, obsession, or cruelty regarding the community led by his paternal ancestors
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3

Syofyan, Donny. "The Unsolved Riddle of Hanging Rock: Staging the Unknowable." Jurnal Ceteris Paribus 4, no. 1 (2025): 22–32. https://doi.org/10.25077/jcp.v4i1.43.

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Joan Lindsay's "Picnic at Hanging Rock" is renowned for its enigmatic disappearance and haunting atmosphere. This study examines how Laura Annawyn Shamas's stage adaptation effectively translates this mystery to the theater. By analyzing the play's narrative structure, character development, dialogue, and stage directions, this study reveals how theatrical techniques can convey the unknowable and capture the unsettling ambiance of the source material. The play utilizes a non-linear structure, fragmented dialogue, and evocative lighting and sound design to create an atmosphere of suspense and a
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4

Anderson, Brianna. "Revolutionary paratext and critical pedagogy in Nathan Hale’s One Dead Spy." Studies in Comics 11, no. 1 (2020): 127–46. http://dx.doi.org/10.1386/jem_00018_1.

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Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980–91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique ped
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Anderson, Brianna. "Revolutionary paratext and critical pedagogy in Nathan Hale’s One Dead Spy." Studies in Comics 11, no. 1 (2020): 127–46. http://dx.doi.org/10.1386/stic_00018_1.

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Autobiographical accounts of historical violence and trauma in comics form have gained widespread recognition as valuable pedagogical tools, particularly in the wake of Art Spiegelman’s groundbreaking Maus (1980‐91). These comics often draw from the conventions of text-based autobiographies to provide first-person, non-fiction narratives of historical events, contributing to their perceived legitimacy as ‘serious’ texts worthy of inclusion in the classroom. However, this narrow focus on autobiographical comics as authentic windows to history has led educators to largely overlook the unique ped
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6

Baker, Timothy C. "‘Not at all afraid’: Queer Temporality and the School Detective Story." Crime Fiction Studies 2, no. 2 (2021): 137–53. http://dx.doi.org/10.3366/cfs.2021.0043.

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Kate Haffey has recently argued that if queer time can be seen as a turning away from narrative coherence, it suggests new possibilities for considering narrative structures more generally. Combining the narratively rigid structures of the school story and the detective novel, the four novels discussed in this article – Gladys Mitchell’s Laurels are Poison (1942), Josephine Tey’s Miss Pym Disposes (1946), Shirley Jackson’s Hangsaman (1951), and Joan Lindsay’s Picnic at Hanging Rock (1967) – disrupt conventional understandings of linear time. Depicting not only queer, or potentially queer, char
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7

Zadeh, Mohammad Reza Modarres. "A Reading of Flannery O’Connors “Everything that Rises Must Converge”." International Letters of Social and Humanistic Sciences 4 (September 2013): 5–10. http://dx.doi.org/10.18052/www.scipress.com/ilshs.4.5.

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Everything that rises must converge is a short story which, without the aid of suspense that is often provoked in fiction by actions hanging on a bare thread in a whirling plot of intertwining – and perhaps incredible – events, catches the reader‟s attention until the very last word. The plot of the story could not be any simpler; a young bachelor takes his overweight mother by bus to a „reducing class‟ but before they reach the place the mother changes her mind, heads back home, has a stroke and is left by her helpless son dying or maybe dead as he goes to seek help. But parallel to the plot
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8

Higashi, Sumiko. "Adapting Middlebrow Taste to Sell Stars, Romance, and Consumption." Feminist Media Histories 3, no. 4 (2017): 126–61. http://dx.doi.org/10.1525/fmh.2017.3.4.126.

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Although it began as a local slapdash effort to advertise the independent exchanges in Chicago in 1911, Photoplay became the nation's leading movie fan magazine. At first it copied Motion Picture Story, founded earlier to publicize the films of the monopolistic Motion Picture Patents Company, in publishing literary storyized versions of film releases. Adapting the middlebrow conventions of its rival to overcome disrepute and near bankruptcy, Photoplay had already spotlighted the players in its early issues. Indeed, it established the format for publicity stories about iconic female personaliti
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9

Passehl-Stoddart, Erin, and Ashlyn Velte. "Capitalizing on short-term collaborative projects: A special collections case study." College & Research Libraries News 80, no. 8 (2019): 452. http://dx.doi.org/10.5860/crln.80.8.452.

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After the University of Idaho (UI) Library Special Collections and Archives (SPEC) received an unexpected bequest of approximately 340 boxes of science fiction books and manuscript materials, faculty and staff had to think creatively about how to appraise, clean, preserve, and provide basic access to the collection within a short time frame.Embracing the idea that short-term collaborative projects require less formality, which makes them “low-hanging fruit” and more likely to succeed than long-term collaborative projects, SPEC implemented successful strategies such as cross-training library st
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10

Haugtvedt, Erica. "Class and Complex Transmedia Character in the Early Victorian Period: Jack Sheppard (1839-40)." Victorian Popular Fictions Journal 3, no. 2 (2021): 75–96. http://dx.doi.org/10.46911/oyym7051.

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The reception of William Harrison Ainsworth’s novel, Jack Sheppard (1839-1840), was contemporaneously deemed a mania and has been described by critics today as a moral panic over the influence of fiction. Several adaptations of Ainsworth’s novel across media ambiguously depict Jack’s hanging, and the adaptations that most clearly show his survival occur in those versions that are least legally defensible and most clearly targeted toward the labouring classes. In this essay, I analyse Buckstone and Greenwood’s melodramas at the Adelphi and Sadler’s Wells, respectively, in autumn 1839; two penny
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Books on the topic "Hanging – Fiction"

1

Hayder, Mo. Hanging hill. Bantam, 2012.

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2

Hayder, Mo. Hanging Hill. Atlantic Monthly Press, 2011.

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3

Ephron, Delia. Hanging up. Ballantine Books, 1996.

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4

Glass, Leslie. Hanging time. Bantam Books, 1995.

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Ephron, Delia. Hanging up. Ballantine Publishing Group, 2000.

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6

Yamanaka, Lois-Ann. Blu's hanging. Bard, 1998.

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7

Soos, Troy. Hanging curve. Kensington Books, 1999.

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8

Copyright Paperback Collection (Library of Congress), ed. Hanging valley. Berkley Books, 2002.

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9

Kelton, Elmer. Hanging judge. G.K. Hall, 1999.

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10

Little, Jean. Hanging Hannah. Kensington Books, 2000.

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Book chapters on the topic "Hanging – Fiction"

1

Woolf, Virginia. "The Lady in the Looking-Glass: A Reflection." In Kew Gardens and Other Short Fiction. Oxford University Press, 2022. http://dx.doi.org/10.1093/owc/9780198838135.003.0015.

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People should not leave looking-glasses hanging in their rooms any more than they should leave open cheque books or letters confessing some hideous crime. One could not help looking, that summer afternoon, in the long glass that hung outside in the hall. Chance had...
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2

Magoulick, Mary J. "The Good Goddess in Popular Fiction." In The Goddess Myth in Contemporary Literature and Popular Culture. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496837066.003.0006.

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Popular fantasy or speculative fiction by women often embraces ideas of Goddess Culture and matriarchal prehistory in positive but essentialized ways. Jean Auel’s bestselling Earth’s Children series (1980 - 2011) features heroine Ayla, a human raised by Neanderthals who then finds other humans, in Upper Paleolithic Europe. Ayla becomes a shamanistic leader of a peaceful, goddess-mother-worshipping culture. Marion Zimmer Bradley’s Avalon series, especially The Mists of Avalon (1983), set during King Arthur’s time, focuses mainly on Morgaine, recast here as the good heroine and priestess of Moth
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Kerr, Douglas. "Animals." In Orwell and Empire. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192864093.003.0002.

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Abstract There are animals in all of Orwell’s books. This chapter finds that his descriptions of animals, in fiction and memoir, were a way of working out his political views and his feelings towards actual or fictional situations. The dog that appears in ‘A Hanging’, the elephant in ‘Shooting an Elephant’, and the wildlife of the Burmese jungle in the novel Burmese Days, are all figures of empathy and alienation in imperial contexts. Inherited beliefs in racial superiority sometimes cast local people in the role of animals, unable to think or speak for themselves, and in Orwell’s work such pe
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4

Clabough, Casey. "Hanging On to Place: The Self-Reflexive Depths of Kelly Cherry's Fiction." In Inhabiting Contemporary Southern and Appalachian Literature. University Press of Florida, 2012. http://dx.doi.org/10.5744/florida/9780813041735.003.0008.

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Ball, Warwick. "On Board the Dawn Treader." In East of the Wardrobe. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197626252.003.0005.

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Epics and fabulous voyages—the idea of quests in the Chronicles—Sindbad, John Mandeville, the Voyage of Argo, the Kalevala, the Epic of Gilgamesh, and the Alexander Romance—flying horses and magic carpets—Persian gardens, the Hanging Gardens, and the Garden of Eden behind enchanted gardens and paradise themes in Narnia—the Marsh Arabs and the origin of the Marsh-wiggles—underworld journeys in Lewis, Philip Pullman, and the Alexander Romance—China, Father Time, and first hints of Zoroastrianism—dark islands and light and darkness—the Seven Sleepers—monopods—the Seven Sleepers of Ephesus—the utt
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6

"The Melting Pot Boiled Over: Hawaiian American Ethnicities and Self-Authorship in Lois-Ann Yamanaka’s Name Me Nobody and Blu’s Hanging." In Growing Up Asian American in Young Adult Fiction. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496815064.003.0010.

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7

Spiegelman, Willard. "“The Way Things Look Each Day” Poetry, Description, Nature." In How Poets See the World. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195174915.003.0001.

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Abstract The 1954 Fall Term had begun. Again the marble neck of a homely Venus in the vestibule of Humanities Hall received the vermilion imprint, in applied lipstick, of a mimicked kiss. Again the Waindell Recorder discussed the Parking Problem. Again in the margins of library books earnest freshmen inscribed such helpful glosses as “Description of nature,” or “Irony”; and in ‘l pretty edition of Mallarme’s poems an especially able scholiast had already underlined in violet ink the difficult word oiseaux and scrawled above it “birds.” Again autumn gales plastered dead leaves against one side
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8

Winkelmann, Tessa. "Depicting Dangerous Intercourse." In Dangerous Intercourse. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501767074.003.0006.

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This chapter covers the imperial fictions produced by American expatriates and Filipino writers. For American expatriates, representations of sexual relations between colonizer and colonized likewise espoused the idea that intercourse was dangerous, primarily for the sanctity of white racial purity and the moral constitutions of white men. On the other hand, Filipino writers consistently wrote about interracial intercourse as symptomatic of the uneven relations between the United States and the Philippines. The chapter notes “Hanggang pier lang” as a contemporary pejorative that reflected the
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9

Hibbitt, Richard. "Anticolonial Exoticism in Octave Mirbeau’s Le Jardin des supplices." In French Decadence in a Global Context. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802070569.003.0005.

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Octave Mirbeau’s novel Le Jardin des supplices (The Torture Garden; 1899) depicts an exoticized fictional image of a Chinese ‘torture garden’ in order to hold up an allegorical mirror to European hypocrisy in the fin de siècle. Although France under the Third Republic may see itself as a civilized country, the treatment of Alfred Dreyfus and the barbaric violence inflicted on indigenous peoples in north Africa by French colonial forces belies such a claim. But the novel reads as political allegory and as exploitative piece of lurid Orientialism; seemingly complicit with the very system that it
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