Academic literature on the topic 'Jones (Fictional character)'
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Journal articles on the topic "Jones (Fictional character)"
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Hilliard, Christopher. "Authors and Artemus Jones: Libel Reform in England, 1910–52." Literature & History 30, no. 1 (May 2021): 62–76. http://dx.doi.org/10.1177/03061973211007357.
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This article argues that the novel was collateral damage in English law’s reaction to mass-market newspapers. A 1910 court decision made the writer’s intention irrelevant in libel cases. As a result, publishers became vulnerable to defamation suits from people unknown to a novelist but who happened to share a name with a fictional character. Drawing on the Society of Authors archive and the records of the Porter Committee on the Law of Defamation, the article reconstructs the campaign to exempt fiction from liability in cases of unintentional defamation.
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D. Harris, Dr Rachelle. "Shakespeare’s Othello: The Esteemed, Reviled, Shunned, and Integrated?" IJOHMN (International Journal online of Humanities) 3, no. 5 (October 25, 2017): 14. http://dx.doi.org/10.24113/ijohmn.v3i5.36.
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In Shakespearean literature, one can find themes that challenge the Elizabethan conventional way of thinking and life, and the tragedy of Othello is no exception. In a dramatic presentation, Shakespeare challenges the way in which Black people are seen in Elizabethan society by placing a Moor in the context of Venice, Italy who is both hated and respected in his place in a racist society. There is no doubt that there is racism in Elizabethan society. According to Eldred Jones, during the era in which Othello is composed, Queen Elizabeth enacts legislation that calls for all Black people to leave the country (Jones, 1994). Racism is not the core theme of the dramatic piece; however, the existence of racism is illustrated and expressed via Shakespeare’s artistic medium. Just as feminism, greed, jealousy, hubris, and varying other matters dealing with the human spirit do not seepage Shakespeare’s consideration, nor do race matters. Furthermore, just as he dramatizes human issues, he dramatizes race matters. There are fictional elements in Othello that are intertwined with nonfictional matters of human behavior and racial unrest. In the middle of racial unrest, Shakespeare composes a theatrical production with a Black character who is esteemed, reviled, shunned, and integrated into such a society, capturing the complicated nature of communal racism itself. Keywords: Shakespeare, Othello, Integration, Racism Section 1.0
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Scheidel, Walter. "Finances, figures and fiction." Classical Quarterly 46, no. 1 (May 1996): 222–38. http://dx.doi.org/10.1093/cq/46.1.222.
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Whether out of an understandable reluctance to neglect any of the scarce available sources or simply for want of more trustworthy evidence, classical scholars nolentes volentes tend to rely to a large extent on references to amounts of money in the ancient literary sources whenever they aim at quantifying, however roughly and shielded by appropriate disclaimers, some fundamental features of Roman economy and society. In view of this, the almost complete lack of systematic enquiries into the very nature of these particular data is almost as inexplicable as it seems inexcusable. While several studies have been devoted to the use of rounded numbers in Greek and Roman literature in general, none of these has specifically addressed the stylization of monetary valuations. The only notable exception is provided by the work of Richard Duncan-Jones who in a pioneering survey of prices in the Latin novel above all showed beyond reasonable doubt that in this genre, prices expressed in multiples of thirty (up to thirty million) should best be understood as purely conventional valuations. In his latest book, he has subjected the ancient numerical evidence for two areas of major concern—the public treasury and state expenditure during the Principate—to an analogous examination that has highlighted the stylized character of many relevant references and has thus largely confirmed his previous findings. Even so, owing to the limitation of these studies to a small number of authors and subject matters, a vast pool of similar data from ancient literature has hitherto been left virtually untapped. What is more, Duncan-Jones did not attempt to complement his re-evaluation of multiples of thirty with a systematic exposition of complementary patterns of stylization. In this paper, I hope to demonstrate the need for a more extensive and much more radical reassessment of much of the available evidence.
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Boyko, Julia. "COLLOQUIALISMS OR LANGUAGE DEVIATION: LINGUISTIC AND TRANSLATIONAL ASPECTS." Research Bulletin Series Philological Sciences 1, no. 193 (April 2021): 78–84. http://dx.doi.org/10.36550/2522-4077-2021-1-193-78-84.
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The article deals with the peculiarities of colloquial vocabulary as a deviant element of speech, its naming, separation and methods of translation into target language. The ways of realization of colloquial words have been analyzed in the target text through full and adaptive transcoding. Colloquialisms are used by everybody, and their sphere of communication is comparatively wide. These are informal words that are used in everyday conversational speech by cultivated and uneducated people of all groups. Such elements include slang and dialects. Vast use of informal words is one of the prominent features of 20th century English and American literature. In Modern fiction informal words appear in dialogues as well as in descriptive passages. Such informal words are considered to be a kind of language deviation. The main reasons for the functioning of deviations in fiction are as follows: 1) deviation as the main means of creating the image of the characters and the author's picture of the world; 2) the deviation characterizes only individual characters (this way of deviation functioning is used more often, because it creates the image of the hero; 3) the deviation is used as a specific feature to create a certain coloring of the text. This technique is more often used for certain situations, comic effect, or also a conflict situation between the characters. For example, individual interspersed dialectal elements, which are voiced by a particular character, more often uses stylistically refined language, may sound like jokes about other characters who communicate in dialectal speech. To render stylistic coloring of the text created with the help of colloquialisms is an urgent problem for translators. To realize this task a translator should choose a correct strategy taking into account reasons for what the substandard elements have been used in the text. The given investigation shows that the most adequate ways of rendering colloquialisms used in the source language into target language is transcoding full or adaptive one.
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Ilieva, Angelina. "The General, His Fandom, and a Participatory Pandemic." Folklore: Electronic Journal of Folklore 82 (April 2021): 53–78. http://dx.doi.org/10.7592/fejf2021.82.ilieva.
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In February 2020, the Bulgarian government established the National Operational Headquarters for Combating the COVID-19 Pandemic in Bulgaria. General Ventsislav Mutafchiyski, a military doctor, professor at the Military Medical Academy in Sofia, was appointed as its chairman. This paper presents a case study on the public image of Ventsislav Mutafchiyski, its readings and interpretations by the audience, and the specific fan culture that emerged around his media persona during the first wave of the COVID-19 pandemic in Bulgaria. Placed in the spotlight of the media at the very beginning of the crisis, Mutafchiyski became extremely popular as the public figure most strongly associated with the fight against the spread of the disease in the country. Around his media persona, shaped in the public imagination as a wartime leader, a fan culture has grown with all its characteristic features and dimensions: fans and anti-fans, affirmative and transformative fandom. As a fictional character, Mutafchiyski has appeared in numerous forms of vernacular creativity: poems, songs, material objects, jokes, fake news, conspiracy theories, and memes. In this way, the General has become the main character of Bulgarian pandemic folklore and the focal point of a participatory pandemic.
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Fernandez, Jean. "HYBRID NARRATIVES: THE MAKING OF CHARACTER AND NARRATIVE AUTHORITY IN RUDYARD KIPLING'S “HIS CHANCE IN LIFE”." Victorian Literature and Culture 36, no. 2 (September 2008): 343–59. http://dx.doi.org/10.1017/s1060150308080212.
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When Rudyard Kipling offeredhis wry observations on officialdom in Imperial India to his cousin, Margaret Bourne-Jones, in 1885, he might have been toying with the kernel of one of his more perplexing stories on race and hybridity, written for his 1888 anthology,Plain Tales from the Hills. When Kipling actually came to address this theme fictionally, in his short story entitled “His Chance in Life,” he made one crucial change: he substituted a dark-skinned telegraphist of mixed race for an Englishman, thereby engaging with the illogics of character that hybridity posed for narratives on race and Empire. In Kipling's story, his hybrid hero, stationed in the mofussil town of Tibasu, experiences a sudden surge of Britishness in the mixed blood flowing in his veins at the moment when crisis strikes, and leads a group of terrified policemen in quelling a communal riot between Hindus and Muslims. He is found guilty of exercising unconstitutional authority by a Hindu sub-judge, but the verdict is set aside by the British Assistant Collector. As a reward, he is promoted to an up-country Central Telegraph Office, where he proceeds to marry his ugly sweetheart, also of mixed race parentage, and live happily with a large brood of children in quarters on the office premises, a loyal government servant, “at home” with officialdom and Empire.
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Opreanu, Lucia. "Word Havens: Reading One’s Way out of Trauma in Contemporary Fiction." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 2 (November 19, 2020): 93–102. http://dx.doi.org/10.31178/ubr.9.2.10.
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Prompted by the attention received in recent years by the collateral benefits of reading and the growing prominence of bibliotherapy in the literary marketplace, this paper aims to investigate the therapeutic effects of books as they emerge from the experience of fictional characters, a perhaps less scientifically sound endeavour than empirical studies and clinical trials targeting real-life readers but one likely to occasion interesting perspectives on reading as a coping mechanism in the face of trauma. By focusing on a variety of reading experiences gleaned from a selection of novels ranging from Mary Shelley’s Frankenstein to William Styron’s Sophie’s Choice, Graham Swift’s Waterland, Michael Ondaatje’s The English Patient, Azar Nafisi’s Reading Lolita in Tehran: A Memoir in Books, Markus Zusak’s The Book Thief, Lloyd Jones’ Mister Pip and Mary Ann Shaffer and Annie Barrows’ The Guernsey Literary and Potato Peel Pie Society and targeting acts of solitary communion with narrative as well as illicit seminars, informal book clubs and impromptu public readings, the analysis intends to highlight the extent to which literature can provide more than a mere pastime or intellectual challenge to its most vulnerable readers. Whether such benefits entail a sense of community, a temporary shelter from the hardships of war, a reprieve from the abuses of a totalitarian government or sanctuary from the less brutal but nevertheless haunting scars of broken relationships, parental disapproval or social rejection, the ultimate goal is to identify and assess the various survival strategies employed within these fictional universes. The
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Folkmann, Mads Nygaard. "»Ein Roman ist ein romantisches Buch«." K&K - Kultur og Klasse 35, no. 103 (June 2, 2007): 188–207. http://dx.doi.org/10.7146/kok.v35i103.22305.
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Umulige fiktioner i den romantiske roman »Ein Roman ist ein romantisches Buch«. Impossible Fictions in the Romantic NovelIn the Romantic period, the novel is regarded as a literary form that, by poetological necessity, makes experiments by means of literary representation possible. Seen in an European perspective this is almost solely a matter of early German Romanticism, Frühromantik, where Friedrich Schlegel and Novalis by formulating the novel as a specific, modern genre, try to state a new, revolutionary aesthetics. The article thus points at three characteristic features of the novel’s poetics within this context: 1) the novel contains a double poetics of formal heterogeneity and spiritual homogeneity; 2) the novel gets its value through its inherent epistemology of world views; 3) the novel of early German Romanticism understands itself in a productive split of an utopian vision that never can be fulfilled and an auto-reflexivity exactly because of the knowledge of permanent unfulfillment. Further,the article argues, an aesthetics of impossible fictions evolves as the potential and heritage of this kind of poetics. In the last part of the article, a novel of the Swedish (post-)Romantic author Carl Jonas Love Almqvist (1793-1866), Drottningens juvelsmycke (The Queen’s Tiara, 1834), is read as way of representing, through the constitution of the main character, Tintomara, a principle of the absolute that displays the borders of novelistic representation.
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Scott, Ronnie. "Aussies, Rogues and Slackers: Simon Hanselmann’s Megg, Mogg and Owl Comics as Contemporary Instances of Rogue Literature." Text Matters, no. 9 (December 30, 2019): 137–52. http://dx.doi.org/10.18778/2083-2931.09.08.
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This paper examines the Megg, Mogg and Owl stories of Simon Hanselmann, an Australian artist whose serialized comics both depict acts of contemporary roguery committed by a group of friends in an inner city sharehouse and test the generic limits of its own storytelling conventions, thereby becoming contemporary instances of “rogue texts.” The paper positions the adventures of Megg, a witch, Mogg, her familiar, Owl, their housemate, and associated characters including Booger and Werewolf Jones as contemporary variations of both the Australian genre of grunge fiction and the broad international tradition of rogue literature. It shows how Megg, Mogg, Owl and their friends use the structure of the sharehouse to make their own rules, undertake illegal behaviour, and respond to the strictures of mainstream society, which alongside legal restrictions include normative restrictions on gender and behaviour. It shows the sharehouse as a response to their economic, as well as cultural and social conditions. The paper then shows how Megg and particularly Owl come up against the limitations of the permissiveness and apparent security of their “rogue” society, and respond by beginning to “go rogue” from the group. Meanwhile, the text itself, rather than advancing through time, goes over the same chronology and reinscribes it from new angles, becoming revisionist and re-creative, perhaps behaving roguishly against the affordances of episodic, vignette form. The paper argues that Simon Hanselmann’s Megg, Mogg and Owl comics can be understood as contemporary rogue texts, showing characters responding to social and generic limits and expressing them through a restless and innovative comics text.
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Løfaldli, Eli. "Staging Henry Fielding: The Author-Narrator in Tom Jones On Screen." Authorship 6, no. 1 (June 30, 2017). http://dx.doi.org/10.21825/aj.v6i1.4835.
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As recent adaptation theory has shown, classic-novel adaptation typically sets issues connected to authorship and literal and figurative ownership into play. This key feature of such adaptations is also central to the screen versions of Henry Fielding’s Tom Jones (1749). In much of Fielding’s fiction, the narrator, typically understood as an embodiment of Fielding himself, is a particularly prominent presence. The author-narrator in Tom Jones is no exception: not only is his presence strongly felt throughout the novel, but through a variety of means, ‘The History of Tom Jones, A Foundling’ is also distinctly marked as being under his control and ownership. The two adaptations of Fielding’s novel, a 1963 film and a 1997 television series, both retain the figure of the author-narrator, but differ greatly in their handling of this device and its consequent thematic ramifications. Although the 1963 film de-emphasises Henry Fielding’s status as proprietor of the story, the author-narrator as represented in the film’s voiceover commentary is a figure of authority and authorial control. In contrast, the 1997 adaptation emphasises Fielding’s ownership of the narrative and even includes the author-narrator as a character in the series, but this ownership is undermined by the irreverent treatment to which he is consistently subjected. The representations of Henry Fielding in the form of the author-narrator in both adaptations are not only indicative of shifting conceptions of authorship, but also of the important interplay between authorship, ownership and adaptation more generally.
Dissertations / Theses on the topic "Jones (Fictional character)"
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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. The purpose of my dissertation is to conduct a study of various prominent fantasy texts of the twentieth century, including the fantasy works of J.R.R. Tolkien, C.S. Lewis, Robert Holdstock, Diana Wynne Jones, Natalie Babbitt, and J.K. Rowling. In scrutinising these texts, and drawing on insights offered by liminal, ecocritical, ecofeminist, mythological and psychological theorists, I identify the primary function of trees within fantasy narratives as liminal: what Victor Turner identifies as a ‘betwixt and between’ state (1991:95) where binaries are suspended in favour of embracing potentiality. This liminality is constituted by three central dimensions: the ecological, the mythological, and the psychological. Each dimension informs the relationship between the arboreal as grounded in reality, and represented in fantasy. Trees, as literary and cinematic arboreal totems are positioned within fantasy narratives in such a way as to emphasise an underlying call to bio-conservatorship, to enable a connection to a larger scope of cultural expectation, and to act as a means through which human self-awareness is developed.English Studies
D. Litt. et Phil. (English)
Books on the topic "Jones (Fictional character)"
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ill, Scott Steve, ed. Indiana Jones and the Tomb of the Gods. Edina, Minn: Spotlight, 2009.
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ill, Brunkus Denise, ed. Junie B., first grader: Boss of lunch. New York: Random House, 2002.
Find full textBook chapters on the topic "Jones (Fictional character)"
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Leader-Picone, Cameron. "The Audacity of Hope Jones." In Black and More than Black, 119–46. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496824516.003.0005.
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This chapter analyzes the specific representation of Barack Obama as a fictional character in Alice Randall’s 2009 novel Rebel Yell. This chapter argues that Randall’s fictional representation of Obama as a post-racial figure or “unhyphenated man”—meaning that he is not burdened by double consciousness—embraces his election as a moment of transformative change. Randall’s novel utilizes Obama as an almost mythological character—he is, in fact, never named in the novel—to imagine a racial self-consciousness detached from structural legacies of slavery and Jim Crow segregation and absent, as well, from the proscriptive burdens of both the Civil Rights and post-civil rights eras. The chapter shows how Randall’s refusal of a racialized present echoes concepts such as post-Blackness and post-soul aesthetics.
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Bocarnea, M. "Celebrity-Persona Parasocial Interaction Scale." In Handbook of Research on Electronic Surveys and Measurements, 309–12. IGI Global, 2007. http://dx.doi.org/10.4018/978-1-59140-792-8.ch039.
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The celebrity-persona parasocial interaction scale (CPPI) is designed to measure how media consumers form parasocial relationships with celebrities or popular fictional characters. A parasocial relationship is defined as an imaginary interpersonal relationship between a media consumer and a media persona (Horton & Wohl, 1956). Persona can be real people, such as actors, athletes, and performing artists; or they can be fictional characters, such as Susan in the television serial Desperate Housewives, a character played by actress Teri Hatcher, or Indiana Jones, a character in the film, Raiders of the Lost Ark, played by actor Harrison Ford. The CPPI is derived from several other published parasocial action scales, including Rubin, Perse & Powell (1985), Cole & Leets (1999), and Auter & Palmgreen (2000). While most parasocial interaction scales are designed to measure the strength of parasocial relationships that develop through television viewing, the CPPI is particularly targeted to celebrities whose exposure far exceeds television programs alone.
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Whitehead, Kevin. "The Jazz Musician (and Fan) as Character 1959–2016." In Play the Way You Feel, 285–92. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.003.0010.
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This short chapter looks at instances of jazz musicians as characters in mainstream entertainment after 1992. Unreliable narrators tell tall jazz tales, in the film The Legend of 1900 and on TV series The Young Indiana Jones Chronicles. Two jazz musicians save the day in Tom Hanks’s rock movie That Thing You Do! A jazz snob taunts a 1960s folk musician in the Coen brothers’ Inside Llewyn Davis. The discussion also reaches back to some earlier fiction films in which jazz luminaries Louis Armstrong, Duke Ellington, and Anita O’Day perform in incongruously modest venues—ending with Benny Golson’s appearance in Steven Spielberg’s The Terminal. Other films are also discussed.
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Price, Leah. "The Book as Go-Between: Domestic Servants and Forced Reading." In How to Do Things with Books in Victorian Britain. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691114170.003.0007.
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This chapter assesses why secular fiction devoted so much space to jokes about tract distributing. Where tracts imitate the formal conventions of the same novels with which they competed, mid-Victorian novels almost obsessively represent characters distributing—though rarely reading—tracts. Yet tract distribution was only one among several practices that the secular press used to figure questions about the relation between supply and demand. The experiences of being handed a tract, read aloud to, and tricked into mistaking printed advertisements for personal letters, all provided the novel with mirror images for its own claim to be freely chosen. By satirizing intrusively personal forms of charitable and familial transmission, the novel made a virtue of a traditional accusation against it: that its commercial distribution and solitary consumption made the novel an antisocial genre.