Relevant bibliographies by topics / Henry, James (Fictitious character)

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Academic literature on the topic 'Henry, James (Fictitious character)'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Henry, James (Fictitious character)"

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Bøggild, Jacob. "Fiktion som restriktion? Eller som indirekte meddelelse?: En diskussion med Dorothy Hale om en etisk vending i nyere litteraturteori." K&K - Kultur og Klasse 36, no. 106 (2009): 34–55. http://dx.doi.org/10.7146/kok.v36i106.22023.

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Fiction as Restriction? Or as Indirect Communication? A Discussion with Dorothy Hale about an Ethical Turn in Recent Literary Theory:This article is a discussion with a recent article by Dorothy Hale: »Fiction as Restriction: Self-Binding in New Ethical Theories of the Novel«. Here, Hale claims that different new ethicists among contemporary literary scholars all end up sounding very much like the Wayne Booth of The Rhetoric of Fiction. In this connection, she points out that the reader’s willing surrender to the fictitious universe of a novel and making room for the characters he or she encou
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Colodeeva, Liliana. "The Jamesian Material Self: Show Me Your House and I Will Tell You Who You Are!" Cultural Intertexts 7/2017 (December 22, 2017): 93–103. https://doi.org/10.5281/zenodo.7854861.

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The major purpose of this study is to analyse the aspects and the role of the Material Self present in the novel <em>The Portrait of a Lady</em> by Henry James. The Material Self is a constituent of the Empirical Self which William James (Henry James&lsquo;s brother) defines in his theoretical work <em>The Principles of Psychology</em>. Therefore, the representation of the Material Self in Henry James&lsquo;s works is much more interesting when compared with the representation of the Self in William James&lsquo;s theory. According to William James, one of the core elements of the Material Self
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Collins, William. "Encoding the Circumambient Psychological Moment: Clause Relations, Parallel Structures and Alliteration in Henry James’ “The Ambassadors”." Studies in Linguistics and Literature 3, no. 4 (2019): p301. http://dx.doi.org/10.22158/sll.v3n4p301.

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Henry James’ “The Ambassadors” might be termed an Impressionist Suspense Novel in that the action of the novel centers on the shifting impressions and groping for hidden meaning in the mind of its main character, Lambert Strether. The subtle changes in Strether’s struggle for understanding are registered in a series of intense encounters with Chadwick Newsome, and his lover, Madame Marie de Vionnet and are communicated to the reader in the complex syntax of James’ prose. This article will examine James’ use of four linguistic devices to render character portraits and signal shifting impression
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Mannan, Ilona. "Henry James and Titian: A Community of Americo-Venetians." Henry James Review 46, no. 1 (2025): 1–13. https://doi.org/10.1353/hjr.2025.a950893.

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Abstract: Throughout his career, James alluded to the works of Titian in his fiction and essays. While criticism has acknowledged that he referred to Titian more than any other painter, the fact that his portrayals were often ambivalent has not been commented on. Seeing Titian’s paintings as a means to probe what an image communicates and what it might conceal, James used the painter’s work to reflect upon the meaning of aesthetics, exploring and critiquing contemporary artistic theories, as well as analyzing the changing character of America during the Gilded Age.
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Moputi, Relita, and Dahlia Husain. "AN AMBITION ANALYSIS REPRESENTED BY THE MAIN CHARACTER IN PERFUME: THE STORY OF A MURDERER." British (Jurnal Bahasa dan Sastra Inggris) 7, no. 1 (2019): 1. http://dx.doi.org/10.31314/british.7.1.1-13.2018.

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Literary works are the reflection of real life. Movie is a literary work that tells a story by using some conflict. The character in a movie usually describes the human psychology and behavior. Ambition is one of human psychology. This research discusses about the ambition of the main characters in Perfume: the Story of a Murderer. This movie tells about the ambitious the main character to make a perfume by killed 26 victims. He has an ambition to fulfill their psychogenic needs. The fulfillment of psychogenic needs that is experienced by the main character on the movie is analyzed in Henry Mu
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Sharma Kandel, Bhanu Bhakta. "Grace of Sacrifice: A Study of Henry James’ The Wings of the Dove." Literary Oracle 8, no. 2 (2024): 46–62. https://doi.org/10.70532/lodec2404.

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The Wings of the Dove, a novel by Henry James, is rich with themes of love, sacrifice, and moral ambiguity. Central to its narrative is the character of Milly Theale, a wealthy American heiress stricken with a fatal illness, whose fortune attracts the attention of Kate Croy and Merton Densher, two lovers entangled in a complex web of desire and ambition. This article explores the concept of sacrifice embodied by Milly’s character, examining how her impending death catalyzes profound emotional and ethical dilemmas for those around her. Milly’s sacrificial nature serves as a lens through which J
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Darkouchi, Zafer. "Psychological Self-Realization in Henry James's The Portrait of a Lady." Interdisciplinary British and American Studies Journal 1, no. 1 (2024): 43–51. https://doi.org/10.5281/zenodo.14585640.

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Henry James's The Portrait of a Lady represents a profound exploration of the human psyche, with a particular focus on the psychological struggles of women in the 19th century. The novel employs psychological realism to examine the character of Isabel Archer, an American woman who challenges societal expectations and confronts personal limitations. Through a close textual analysis, the study examines how James utilizes narrative techniques to portray Isabel's psychological struggles as she challenges gender expectations and seeks personal autonomy. The findings reveal that James not only criti
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Valero Redondo, María. "The unacknowledged connection : intertextuality and character archetypes in Jane Austen's and Henry James's novels." Brno studies in English, no. 2 (2024): 169–92. https://doi.org/10.5817/bse2024-2-8.

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The aim of this article is to explore the intertextual relationships between the novels of Jane Austen and Henry James, focusing particularly on how James may have consciously or unconsciously reinterpreted Austenian character archetypes in some of his novels of courtship and marriage, such as The Portrait of a Lady, The Awkward Age, and Washington Square, by comparing them to some of Austen's narratives, like Emma, Pride and Prejudice, Mansfield Park, and Persuasion. Although several novelists and critics have acknowledged the intertextual echoes between Austen's and James's works, this conne
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Levin, Janina. "Temporality and the Unconfident Heroine in Henry James's The Golden Bowl." Novel 53, no. 3 (2020): 341–59. http://dx.doi.org/10.1215/00295132-8624534.

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Abstract Readers traditionally associate heroism with risk and confidence in one's abilities. Yet within the realist tradition, Henry James creates a portrait of an unconfident heroine. The Golden Bowl's Maggie Verver demonstrates she has the ability to become an effective actor, and she can be read as a special case within the underdog character type. Despite being caught in a deception plot, she surprises readers with the pleasure of a “win” by developing a specific know-how that relies on reading temporal tensions. The article uses theoretical work on temporality by Paul Ricoeur, Jacques La
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Colodeeva, Liliana. "The Masquerade of Social Selves in What Maisie Knew by Henry James." Cultural Intertexts 8/2018 (December 21, 2018): 73–79. https://doi.org/10.5281/zenodo.7853541.

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The paper discusses the Social Self represented in the novel <em>What Maisie Knew</em> (1897) by Henry James. Its representation is analysed under the lens of his brother"s (W. James) psychological theory outlined in <em>The Principles of Psychology</em> (1890). The concept of the Social Self in What Maisie Knew may be seen as taking shape in the images of five adults: a father and a mother, a stepfather and a stepmother and a governess. All the adults fail to fulfil their social roles as parents, apparently because their material and spiritual Selves are stronger than the social one. The repr
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Dissertations / Theses on the topic "Henry, James (Fictitious character)"

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Dixon, Brian A. "Sex for Dinner , death for breakfast : James Bond and the body /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3367989.

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Disler, Michelle R. "Archipelago /." View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3286184.

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Samuels, Nils. "Shame and genre in nineteenth-century American narrative : a psychological reading of character and choice in James Fenimore Cooper, Susan Warner, Henry James, and Theodore Dreiser /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487949508368947.

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Davis, James C. "In Pursuit of "Our Heroine's Biographer:" A Study of Narrative Method in Henry James' The Portrait of a Lady & The Ambassadors." Oberlin College Honors Theses / OhioLINK, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1397229520.

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Benson, Fiona. "The Ophelia versions : representations of a dramatic type, 1600-1633." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/478.

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Leonard, Christopher G. "Joyce’s “Circe” : Stephen’s heteroglossia, liberatory violence and the imagined antinational community." 2012. http://liblink.bsu.edu/uhtbin/catkey/1670057.

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In James Joyce’s Ulysses, I believe that Stephen Dedalus enacts a heteroglossic discourse in episode 15, “Circe,” that critiques both English imperialism and the nationalist bourgeois of Ireland. Moreover, Stephen engages not only in an aesthetic and political rebellion through the style of his discourse, but he also engages in the only anticolonial violence in Ulysses against the British soldier Private Carr. Thus, I believe that Stephen separates himself from the ideology of the colonizer and from the bourgeois nationalists through aesthetic, political, and violent means. I will conduct my e
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Potter, Mary-Anne. "Arboreal thresholds - the liminal function of trees in twentieth-century fantasy narratives." Thesis, 2018. http://hdl.handle.net/10500/25341.

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Trees, as threshold beings, effectively blur the line between the real world and fantastical alternate worlds, and destabilise traditional binary classification systems that distinguish humanity, and Culture, from Nature. Though the presence of trees is often peripheral to the main narrative action, their representation is necessary within the fantasy trope. Their consistent inclusion within fantasy texts of the twentieth century demonstrates an enduring arboreal legacy that cannot be disregarded in its contemporary relevance, whether they are represented individually or in collective forests.
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Books on the topic "Henry, James (Fictitious character)"

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1843-1916, James Henry, ed. The portrait of a lady: Screenplay based on the novel by Henry James. Penguin Books, 1996.

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Stanley, J. B. Chili con corpses. Midnight Ink, 2008.

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Stanley, J. B. Chili con corpses: A supper club mystery. Wheeler Pub., 2008.

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Stanley, J. B. Stiffs and swine. Wheeler Pub., 2009.

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Stanley, J. B. Chili con corpses: A supper club mystery. Midnight Ink, 2008.

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Harold, Bloom, ed. Isabel Archer. Chelsea House, 1992.

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Henry, James. The portrait of a lady: An authoritative text, Henry James and the novel, reviews and criticism. 2nd ed. W.W. Norton, 1995.

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8

Roberts, James Lamar. CliffsNotes on James' The Portrait of a Lady. John Wiley & Sons, Ltd., 2002.

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Morris. Jesse James. Lucky Comics, 2002.

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Sherry, Vincent B. James Joyce's Ulysses. 2nd ed. Cambridge University Press, 2004.

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Book chapters on the topic "Henry, James (Fictitious character)"

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Ray, Robert B. "Flaemmchen." In The ABCs of Classic Hollywood. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195322910.003.0006.

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Abstract Flaemmchen (or Flämmchen, as Baum writes the name), is the diminutive of Flamme, “little flame.” While her name suggests the character’s sexual appeal and casual virtue, it also evokes the German expression auf kleiner Flammen kochen, literally “to cook over little flames” or “to make do with very little,” a connotation suiting Flaemmchen, who, as she admits to the Baron, gets by on “one meal a day.” The translation into English, however, sheds these connotations, and by doing so shifts Grand Hotel’s register from allegory to novel. In a famous objection to what he referred to as Anth
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Murphet, Julian. "Henry James." In Modern Character. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192863126.003.0008.

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Abstract The late work of Henry James is assayed in Chapter 7, where we find a novel solution to the crisis of characterology at this moment in literary history. Rather than plumbing the psychological depths and excavating a newly rounded model of the individual, James redoubles his attention to the narrative surface, where he elaborates a planar geometry of sides, angles, and areas of influence without any third dimension to speak of. In this rarefied textual space, not morals but aesthetics always govern, and individuals cede to groups, as the various quartets and triangles of his compositio
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"2. Novel interests: Henry James." In Out of Character. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804791236-004.

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"CONSTANCE ROURKE, 'The American', American Humor: A Study of the National Character, New York, 1931." In Henry James. Routledge, 1992. http://dx.doi.org/10.4324/9781315072937-11.

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"THE ELDER HENRY JAMES." In The Thought and Character of William James. Vanderbilt University Press, 2020. http://dx.doi.org/10.2307/j.ctv176kv92.6.

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Horne, Philip. "Perspectives in The Portrait of a Lady." In Henry James and Revision. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198128717.003.0006.

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Abstract James’s cousin Minny Temple died of consumption in America in 1870 while James was at Great Malvern. Ten years later The Portrait of a Lady was unimpededly under way; a work whose germ James recalled in his NYE Preface years later as residing in his ‘grasp of a single character’ (LC ii. rn75). The ‘single character’ in the book is Isabel Archer; but James’s ‘grasp’, his sense of ‘complete possession’ as he calls it, was derived from his knowledge of the remarkable girl dead a decade before.
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"Character index." In My dear Miss Ransom: Letters between Caroline Ransom Williams and James Henry Breasted, 1898-1935. Archaeopress Publishing Ltd, 2018. http://dx.doi.org/10.2307/j.ctv177tj56.12.

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Scholes, Robert, James Phelan, and Robert Kellogg. "Character in Narrative." In The Nature of Narrative. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195151756.003.0005.

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Abstract Thus Henry James in “The Art of Fiction.” James, in that essay, displays little sympathy for the “queer predicaments” of critics and for their “clumsy separations,” such as the “celebrated dis tinction between the novel and the romance.” ( This attitude, however, did not prevent James from making his own elegant “separations” when he chose. Still, we begin this discussion of character with James’s statement not to convict the master of inconsistency but to illustrate something about conceptions of character in general.) James, consciously or unconsciously, refers all judgments of fict
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Mizruchi, Susan L. "Prologue." In Henry James: A Very Short Introduction. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780190944384.003.0001.

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‘Prologue’ provides a background on Henry James’s writing, the hallmarks of which are aesthetic self-consciousness and a focus on the conventions and etiquette of the social elite. James is considered to be among the greatest English-language novelists. He specialized in profound portraits of human character, the relations between genders, and moral conflicts. He wrote with extraordinary insight about women and girls, and about the power conferred by money and the vulnerability conferred by lacking it.
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Scholar, John. "James’s Late Theory of the Impression." In Henry James and the Art of Impressions. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198853510.003.0005.

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Chapter 4 explores the theoretical uses to which James puts the impression in the prefaces to the collected New York Edition of his work (1907–9). It serves as a preface in its own right to the final three chapters of the book, in which James’s fictional treatment of the impression in the three celebrated novels of the major phase is examined. James’s impression uneasily accommodates both empiricism and aestheticism. What James does with these uneasy accommodations is to make them the narrative focus of his late novels and, in the prefaces, to theorize the novels’ interest in these terms. The
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