Relevant bibliographies by topics / John Sinclair (Fictional character)

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Academic literature on the topic 'John Sinclair (Fictional character)'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 January 2023

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Journal articles on the topic "John Sinclair (Fictional character)"

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Phelan, James. "Character in Fictional Narrative: The Case of John Marcher." Henry James Review 9, no. 2 (1988): 105–13. http://dx.doi.org/10.1353/hjr.2010.0214.

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Kucała, Bożena. "John Banville’s „Ghosts”: “A different way of being alive”." Anglica Wratislaviensia 55 (October 18, 2017): 69–82. http://dx.doi.org/10.19195/0301-7966.55.5.

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This article analyses the ontological status of the characters who inhabit the world of John Banville’s novel Ghosts. While the problem of volatile selfhood recurs in Banville’s fiction, in this novel the very existence of the characters within the fictional world remains doubtful. It is argued here that the numerous metafictional elements in the text are central to its interpretation. The novel itself should be treated as a work in progress or a design for a novel rather than a completed project. The narrative initiates and ultimately resists familiar patterns; the characters’ peculiar way of being alive seems to stem from an intersection of empirical reality and an obscure realm of fantasy, imagination as well as textual and artistic allusions. Correspondingly, the narrator’s status as a literary character is ambiguous. The article suggests that the narrator is the most likely creator of the characters within the fictional world and is himself a playful author-substitute in the novel. In conclusion, a reading that treats Ghosts as a postmodern artefact appears to provide a viable framework for resolving the apparent contradictions and ambiguities in the status of the characters.
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Schneider, Michael A. "Mr. Moto: Improbable International Man of Mystery." Journal of American-East Asian Relations 22, no. 1 (April 10, 2015): 7–16. http://dx.doi.org/10.1163/18765610-02201002.

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Mr. Moto, a fictional Japanese detective, achieved mass popularity through a series of 1930s films starring Peter Lorre. Moto was the creation of successful writer John P. Marquand (1893–1960), whose novels depicted a Japanese international spy quite different from the genial Mr. Moto of film. Revisiting the original Mr. Moto novels illuminates a Japanese character who rationalized Japan’s 1930s continental expansionism in ways that might have been acceptable to many Americans. Although Marquand intended to present Mr. Moto as a “moderate” and reasonable Japanese agent and generally present East Asians in a positive light, it is difficult to see the novels as doing anything more than buttressing prevailing racial and ethnic stereotypes.
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Marcotte, Sophie. "Fictional representations of rural Québec in The Night Manager, Autour d’Éva and Sur la 132." British Journal of Canadian Studies: Volume 33, Issue 2 33, no. 2 (September 1, 2021): 209–24. http://dx.doi.org/10.3828/bjcs.2021.14.

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In John le Carré’s The Night Manager (1993), the main character, Jonathan Pine, after fleeing Cairo and having resided in Zurich and Cornwall, retreats for several months to a remote mining community called Espérance, in the Abitibi region, north of Val d’Or, in the province of Québec. Pine, hiding under the alias of Jacques Beauregard, is hired as a cook at the Château Babette hotel. His stay in Abitibi covers the whole of Chapter 9. He will later pursue his mission in the Bahamas. Le Carré’s humoristic representation of regional Québec contrasts with his darker caricatures of Switzerland, and especially the Bahamas. It also contrasts with the dark portrayal of Québec’s rural regions in Québec novels Autour d’Éva (2016), by Louis Hamelin, and Sur la 132 (2012), by Gabriel Anctil.
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Filippello, Roberto. "Tarrying with the elephant: Queer villainy and aesthetic pleasure in Steven Klein’s photography." Queer Studies in Media & Popular Culture 5, no. 2-3 (September 1, 2020): 205–20. http://dx.doi.org/10.1386/qsmpc_00036_1.

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Through a close reference to Steven Klein’s photo spread ‘John Robinson’ for L’Uomo Vogue in 2003, this article tracks the appearance of the fictional character of the queer villain in fashion editorial photography. It discusses specifically how the register of ‘affectlessness’ is embodied and aesthetically performed by the queer villain. Affectlessness is contextualized within the repertoire of neutral affects that were circulated in fashion photography in the late 1990s and early 2000s as an aesthetic stance that counteracted the normative depictions of ‘happy feelings’ in commercial imagery as well as normative styles of masculinity. Affective states of sadness, alienation and neutrality were enacted beginning in the 1990s primarily by androgynous and sexually ambivalent figures: the stylized representation of such states signalled a challenge to binary ways of embodying and performing masculinity and femininity. After a critical reading of ‘John Robinson’, the article concludes by tracing a speculative trajectory for thinking about aesthetic pleasure in relation to queer amoral characters in fashion visual narratives.
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Freese, Peter. "T. C. Boyle’s The Harder They Come: Violence in America." Anglia 135, no. 3 (September 6, 2017): 511–42. http://dx.doi.org/10.1515/ang-2017-0048.

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AbstractT. C. Boyle’s fifteenth novel The Harder They Come (2015) offers a fictional inquiry into the American propensity for violence and takes its title from Jimmy Cliff’s 1972 reggae song and its motto from D. H. Lawrence’s characterization of the “essential American soul [as] hard, isolate, stoic, and a killer” (1978: 68). The article investigates how Boyle creates a metafictional historiography by combining two unrelated historical events – the bare-handed killing of a mugger by an elderly American veteran in Costa Rica and the long police hunt for the schizophrenic murderer Aaron Bassler in the Mendocino Redwoods – with a fictional character who represents the paranoid fringe worlds of sovereign citizens. The article then shows how Boyle embeds his plot in a general atmosphere of menace and incorporates the legend of the heroic mountain man John Colter, thus adding historical depth and evoking the world of wilderness survivalists. It also examines the narrative techniques, such as the choice of a schizophrenic’s point of view, and the stylistic features employed in order to fuse these ingredients into a thrilling tale that reveals the hidden relations between American foundation myths and the threats of contemporary gun violence.
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Abbas, Abbas. "The Racist Fact against American-Indians in Steinbeck’s The Pearl." ELS Journal on Interdisciplinary Studies in Humanities 3, no. 3 (September 25, 2020): 376–92. http://dx.doi.org/10.34050/elsjish.v3i3.11347.

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the social conditions of Indians as Native Americans for the treatment of white people who are immigrants from Europe in America. This research explores aspects of the reality of Indian relations with European immigrants in America that have an impact on discriminatory actions against Indians in John Steinbeck's novel The Pearl. Social facts are traced through fiction as part of the genetics of literary works. The research method used is genetic structuralism, a literary research method that traces the origin of the author's imagination in his fiction. The imagination is considered a social reality that reflects events in people's lives. The research data consist of primary data in the form of literary works, and secondary data are some references that document the background of the author's life and social reality. The results of this research indicate that racist acts as part of American social facts are documented in literary works. The situation of poor Indians and displaced people in slums is a social fact witnessed by John Steinbeck as the author of the novel The Pearl through an Indian fictional character named Kino. Racism is an act of white sentiment that discriminates against Native Americans, namely the Indian community.
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Oylumlu, İkbal Sinemden. "Thirteen Days: A Political Reading." CINEJ Cinema Journal 10, no. 1 (December 19, 2022): 314–39. http://dx.doi.org/10.5195/cinej.2022.537.

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Thirteen Days is a historical political thriller, reflecting John F. Kennedy's leadership characteristics and the decision-making process during the Cuban Missile Crisis, close to reality. The study explains the connection between fictional and real and the decision-making process through the similarities and differences between film scenes and real images. In this sense, it examines John F. Kennedy's decision-making process and leadership structure using both international relations theories and film review methods. The film has been created with a historical perspective, the character traits, crisis and resolution processes of the American president and his small group members, as well as the actors in the Soviet bloc. In addition, evaluating the attitudes and approaches of the Kennedy government and Kennedy's leadership structure are clearly reflected to the audience in the film. This study contributes to the understanding of international relations by explaining Small Thinking Decision and Rational Actor Model theories with the cooperation of the field of international relations and cinema. The sum up, to compare of film scenes and real elements is also important in terms of editing the parts that appear as black-boxes during the crisis and interpreting them close to reality.
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Sooryah, N., and Dr K. R. Soundarya. "Erraticism in the Cannibal – A Study of the Work of Thomas Harris." International Journal of Early Childhood Special Education 12, no. 2 (December 31, 2020): 18–23. http://dx.doi.org/10.9756/int-jecse/v12i2.201052.

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Literature is the key to human life that resurrects and gives space for introspection, retrospection and various remembrances which are hued by overjoy, pain and trauma. Nowadays crime literature became one of the most popular genres in this era which centers mostly on murder and violence. It started from Edgar Allen Poe’s most famous fictional character Auguste Dupin, whose first appearance was on The Murders in the Rue Mogue, considered to be the first crime fiction, followed by Dr. John Watson, Sherlock Holmes and the like. The genre crime fiction has contributed innumerable number of works in both fiction and non-fiction. Thomas Harris’s Hannibal Rising is one such fiction which tells about the life of a serial killer who is a psychiatrist as well as a cannibal. It is a series of novels about the famous character Hannibal Lecter. Cannibalism and Psychiatry are two extremes which rarely meet. This novel is intertwined with a mix of violence, emotions and childhood trauma. Trauma studies nowadays became a key aspect in literature. In this specific work of Thomas Harris, he describes how the centralized character is affected with psychological trauma, in particular, Acute and Separation trauma. Trauma theory became popularized in 1980s and played major role in Atwood’s novels. This study tries to explain how childhood shapes a person and how behaviorism plays a vital element in one’s life and it also tries to analyze the psychological issues, trauma and defense mechanism through the central character of the novel.
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McGowan, Maggie. "A Novel in Ruins: Thomas Amory’s Antiquarianism." Eighteenth-Century Fiction 34, s1 (September 1, 2022): 517–46. http://dx.doi.org/10.3138/ecf.34.s1.517.

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This essay considers Thomas Amory’s Memoirs of the Lives of Several Ladies of Great Britain (1755) and The Life and Opinions of John Buncle, Esq. (1756) as experiments in the novel form. Amory’s novels flout many of the genre’s central conventions—like plot and character development—and instead present a deluge of facts, theories, and natural historical and antiquarian descriptions. I argue that these novels offer a peculiar sort of formal or fictional realism that attends not to particular people or places but to the general impressions of objects and ideas. In light of William Stukeley’s antiquarianism, which includes a model for what I label an “ecstatic epistemology” that affectively registers a general sense of the whole in excess of a ruin’s fragments, I read the formal peculiarities of Amory’s novels as a means for producing knowledge about the forms of ideas. By attaching feelings to these ideas—feelings that range from boredom to sublimity—Amory’s novels can give us the general sense of their form.
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Books on the topic "John Sinclair (Fictional character)"

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The stolen chalice: A novel. New York: Scribner, 2012.

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2

No cooperation from the cat: A mystery. New York: Minotaur Books, 2012.

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Davidson, MaryJanice. Undead and unwed. New York: Berkley Sensation, 2011.

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Kingsbury, Kate. Herald of death. New York: Berkley Prime Crime, 2011.

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Buffalo Bill's dead now. New York: Berkley Prime Crime, 2012.

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Sherman, Jory. Savage vengeance. New York: Berkley Pub., 2011.

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Russell, Kirk. Redback. Sutton, Surrey, England: Severn House, 2011.

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Adams, John Joseph. Under the moons of Mars: New adventures on Barsoom. New York: Simon & Schuster Books for Young Readers, 2012.

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I don't want to kill you. New York: Tor, 2011.

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East of Ealing. London: Corgi, 1992.

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Book chapters on the topic "John Sinclair (Fictional character)"

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Bont, Leslie de. "Portrait of the Female Character as a Psychoanalytical Case: The Ambiguous Influence of Freud on May Sinclair’s Novels." In May Sinclair. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474415750.003.0004.

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When May Sinclair started to write fiction and read psychoanalytical papers in the 1890s, case histories were emerging as a crucial medium that helped Sigmund Freud, Josef Breuer, as well as the other founding fathers of psychoanalysis to address the new and singular questions raised by their most puzzling patients. Indeed, the case proved to be a valuable tool in the epistemology of psychoanalytical research: writing case histories enabled pioneer psychoanalysts to challenge existing theories, set up new approaches and develop new discourses. But the case study is also a textual object that relies on dialogue, deixis, narrative and analysis, in ways that are quite similar to fictional writing. Sinclair’s key psychological research papers – “The Way of Sublimation” (1915), “Clinical Lectures” (1916) and “Psychological Types” (1923) – suggest that she favoured a more Jungian-based eclectic approach to psychoanalysis, which she also integrated into her two philosophical books A Defence of Idealism (1917) and The New Idealism (1922), over Freud’s sexual theory. Yet, even if she distanced herself from some (but not all) of Freud’s theses, as we shall see, his influence remained central to her fiction and non-fiction, and more particularly to her textual strategies and character depiction.
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Marsden, George M. "The Low-Church Idea of a University." In The Soul of the American University Revisited, 175–88. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190073312.003.0016.

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William Rainey Harper, founder of the University of Chicago, was an accomplished biblical scholar who convinced John D. Rockefeller Sr. that Baptists needed a great university. While Harper emphasized Christian character, chapel, community, and Christian dimensions in teaching, he was also an efficiency expert who was later accused, as by Upton Sinclair and Thorsten Veblen, of building a university too much beholden to business interests. Amos Alonzo Stagg saw football as contributing to building character and community. In Harper’s “low-church idea of a university,” America was his parish. Sociology, as represented by Albion Small, was presented as a Christian and democratic moral enterprise and can be seen as a last flowering of moral philosophy. John Dewey, who had abandoned earlier Christian faith, exemplifies how a broadly Christian moral heritage might blend with democratic ideals.
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Escolar, Marisa. "The Redemption of Saint Paul." In Allied Encounters, 132–52. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284504.003.0007.

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This chapter analyzes Norman Lewis’s Naples ’44 (1978), the text that most widely perpetuated the gendered redemption paradigm traced in this book. As a British “wedding officer” in Naples, Lewis judges Neapolitan women, distinguishing war brides and rape victims among a sea of prostitutes. This work is not about determining the women’s status but about staging his redemption: starting as a hard-nosed officer, Lewis’s character “dies” and is reborn as the Dantean narrator, making his supposedly anti-fictional diary a conversion narrative, much like John Horne Burns’s The Gallery. As the chapter charts Officer Lewis’s conversion, it puts his diary-novel in dialog with The Gallery and Curzio Malaparte’s La pelle (The Skin), whose spectacles Naples ’44 rewrites in more direct prose. Treated as anti-fictional by historians, Naples ’44 has arbitrated the sexuality of Neapolitan women and the men who love, purchase, or violate them. Lewis represents all Neapolitans as whores and all goumiers “as sexual psychopaths” and yet still emerges as the authoritative narrator. The chapter ends with a reflection on the contemporary cinematic adaption, Naples’44, directed by Francesco Patierno.
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Strain, Virginia Lee. "Snaring Statutes and the General Pardon in the Gesta Grayorum." In Legal Reform in English Renaissance Literature, 65–97. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474416290.003.0003.

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Chapter 2 examines the Gesta Grayorum, an account of the 1594-5 Christmas revels at Gray’s Inn, one of the English common-law societies and educational institutions. The Christmas revelers mounted a large mock court, and the elaborate entertainments for their fictional Prince of Purpoole were performed by and before a community of Inn members and associates that included common-law students, legal professionals, courtiers, parliamentarians, and statesmen. In their abridged parliament, they mock the general pardon that historically compensated for the numerous ‘snaring’ statutes that had accrued over the course of the sixteenth century. These statutes, which turned subjects into unintentional lawbreakers, found their way into Shakespeare’s comedies, like A Midsummer Night’s Dream and The Comedy of Errors, and John Donne’s satires. In parodying the terms and structure of the Elizabethan general pardon, the revelers target a legal-political device that publicly forgave select statutory infractions and broadcasted the sovereign’s merciful character. If the revels open with a mock parliament, Francis Bacon’s subsequent orations on government redirect the entertainments away from the comical errors of lawmakers and legal representatives toward the systematic reform of the fictional state.
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Schober, Adrian. "From the Eternal Sea He Rises." In The Omen, 27–36. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800857070.003.0002.

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This chapter argues that The Omen makes hay with a prejudice of a Roman Catholic conspiracy to gain control and enforce Satan’s will over nations of the world. It draws connections between the fictional Thorn dynasty and the Kennedy dynasty, with particular reference to John F. Kennedy and his Catholicism. It also places the film in post-Watergate context: the election of Democrat Jimmy Carter, who promised to challenge entrenched interests in Washington, and the ascent of Republican Ronald Reagan, who was instrumental to the ‘rightward turn’ in American politics and society. But for a film about the devil-child’s rise in the world of politics, The Omen is remarkable for its lack of engagement with world events and politics. This chapter also speculates about the extent to which star Gregory Peck, a liberal Democrat and Catholic, identified with the Robert Thorn character.
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Corthron, Kia. "From Reflex and Bone Structure." In The Essential Clarence Major, 3–10. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469656007.003.0001.

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Part One of the book contains excerpts from six of Clarence Major’s novels: Reflex and Bone Structure, My Amputations, Such Was the Season, Painted Turtle: Woman with Guitar, Dirty Bird Blues, and One Flesh. Reflex and Bone Structure (1975) is a narrative of subtle clues regarding Majors’s Manhattan characters; the story then shifts to a road trip. Painted Turtle is an examination of Zuni life from the perspective of the narrator, who meets the title character as an adult and, from the stories she has told him, pieces together her existence from childhood on. The novel incorporates cultural language, traditions, and mental illness linked to the legacy of attempted race extermination. My Amputations chronicles a fictional African American poet abroad in Nice and Oxford for conference and readings. One Flesh centers on John and Susie, a black painter and a Chinese American poet in San Francisco, who are considering marriage.
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"in the manner of Hitchcock, across a corridor at Watermouth University in The History Man. John Barth corresponds with his characters in Letters. He explains as ‘J.B.’ his role along with the computer WESAC in producing the novel Giles Goat-Boy (1966) in the first few pages of the novel. B. S. Johnson foregrounds autobiographical ‘facts’, reminding the reader in Trawl (1966): ‘I . . . always with I . . . one starts from . . . one and I share the same character’ (p. 9). Or, in See the Old Lady Decently, he breaks off a description in the story and informs the reader: ‘I have just broken off to pacify my daughter . . . my father thinks she is the image of my mother, my daughter’ (p. 27). Steve Katz worries in The Exaggerations of Peter Prince (1968) – among many other things – about the fact that he is writing the novel under fluorescent light, and wonders how even this aspect of the contemporary technological world will affect its literary products. Alternatively, novelists may introduce friends or fellow writers into their work. Thus, irreverently, in Ronald Sukenick’s 98.6 (1975) the ‘hero’ decides to seduce a girl and her roommate: ‘Besides the roommate is a girl who claims to be the lover of Richard Brautigan maybe she knows something. . . . I mean here is a girl saturated with Richard Brautigan’s sperm’ (p. 26). Federman, Sukenick, Katz and Doctorow make appearances in each others’ novels. Steve Katz, in fact, appeared in Ronald Sukenick’s novel Up (1968) before his own first novel, The Exaggerations of Peter Prince, had been published (in which Sukenick, of course, in turn appears). Vladimir Nabokov playfully introduces himself into his novels very often through anagrams of variations on his name: Vivian Badlock, Vivian Bloodmark, Vivian Darkbloom, Adam von Librikov (VVN is a pun on the author’s initials). Occasionally authors may wish to remind the reader of their powers of invention for fear that readers may assume fictional information to be disguised autobiography. Raymond Federman writes:." In Metafiction, 142. Routledge, 2002. http://dx.doi.org/10.4324/9780203131404-12.

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