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Relevant bibliographies by topics / Josiah, in fiction

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Academic literature on the topic 'Josiah, in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Josiah, in fiction"

1

Carroll, Robert. "THE LOSS OF ARMAGEDDON, OR, 621 AND ALL THAT: BIBLICAL FICTION, BIBLICAL HISTORY AND THE REWRITTEN BIBLE." Biblical Interpretation 8, no. 1-2 (2000): 104–14. http://dx.doi.org/10.1163/156851500300046718.

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AbstractIn this brief article the 'what if' focus takes as its stage the disappearance from the biblical narrative of the so-called deuteronomistic movement and, in particular, the loss of Armageddon entailed by an imagined failure of Josiah to be killed at Megiddo. The loss of a substantive associated with representations of the end of the world is acknowledged, but the concomitant loss of the world of authoritarian, moralistic discourses associated with the ideology of deuteronomism would more than compensate for the aesthetic loss of the descriptor Armageddon. It would not be a case of all subsequent history having to be radically altered, but everything would have been different and, in this author's opinion, better (a non-postmodernist attitude). The stimulating writings of Margaret Barker are utilized to this end and some points are made about the conceivable benefits of such a loss of the ideology and rhetoric of deuteronomism. The Rewritten Bible which lacked any sense of '621 and All That' might then be a pleasure to read.

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Zipfel, Frank. "The Pleasures of Imagination. Aspects of Fictionality in the Poetics of the Age of Enlightenment and in Present-Day Theories of Fiction." Journal of Literary Theory 14, no. 2 (September 25, 2020): 260–86. http://dx.doi.org/10.1515/jlt-2020-2007.

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AbstractInvestigations into the history of the modern practice of fiction encounter a wide range of obstacles. One of the major impediments lies in the fact that former centuries have used different concepts and terms to designate or describe phenomena or ideas that we, during the last 50 years, have been dealing with under the label of fiction/ality. Therefore, it is not easy to establish whether scholars and poets of other centuries actually do talk about what we today call fiction or fictionality and, if they do, what they say about it. Moreover, even when we detect discourses or propositions that seem to deal with aspects of fictionality we have to be careful and ask whether these propositions are actually intended to talk about phenomena that belong to the realm of fiction/ality. However, if we want to gain some knowledge about the history of fiction/ality, we have no other choice than to tackle the arduous task of trying to detect similarities (and differences) between the present-day discourse on fictionality and (allegedly) related discourses of other epochs. The goal of this paper is to make a small contribution to this task.The starting point of the paper are two observations, which also determine the approach I have chosen for my investigations. 1) In the 18th century the terms »fiction« or »fictionality« do not seem to play a significant role in the discussion of art and literature. However, some propositions of the discourse on imagination, one of the most prominent discourses of the Age of Enlightenment, seem to suggest that this discourse deals more or less explicitly with questions regarding the fictionality of literary artefacts as we conceive it today. 2) The concepts of imagination and fictionality are also closely linked in present-day theories of fiction. Naturally, the question arises how the entanglement of the concepts of fictionality and imagination can be understood in a historical perspective. Can it function as a common ground between 18th-century and present-day conceptions of fiction/ality? Is imagination still used in the same ways to explain phenomena of fictionality or have the approaches evolved over the last 250 years and if yes, then how? These kinds of questions inevitably lead to one major question: What do 18th-century and present-day conceptions of fiction/ality have in common, how much and in what ways do they differ?For heuristic reasons, the article is subdivided according to what I consider the three salient features of today’s institutional theories of fiction (i. e. theories which try to explain fictionality as an institutional practice that is determined and ruled by specific conventions): fictive utterance (aspects concerning the production of fictional texts), fictional content (aspects concerning the narrated story in fictional texts) and fictive stance (aspects concerning the reader’s response to fictional texts). The article focusses on the English, French and German-speaking debates of the long 18th century and within these discourses on the most central and, therefore, for the development of the concept of fiction/ality most influential figures. These are, most notably, Madame de Staël, Voltaire, Joseph Addison, Georg Friedrich Meier, Christian Wolff, the duo Johann Jakob Bodmer and Johann Jakob Breitinger as well as their adversary Johann Christoph Gottsched.The relevance of the article for a historical approach to the theory of fiction lies in the following aspects. By means of a tentative reconstruction of some carefully chosen propositions of 18th-century discourse on imagination I want to show that these propositions deal in some way or other with literary phenomena and theoretical concepts that in present-day theory are addressed under the label of fiction/ality. By comparing propositions stemming from 18th-century discourse on imagination with some major assertions of present-day theories of fiction I try to lay bare the similarities and the differences of the respective approaches to literary fiction and its conceptualisations. One of the major questions is to what extent these similarities and differences stem from the differing theoretical paradigms that are used to explain literary phenomena in both epochs. I venture some hypotheses about the influence of the respective theoretical backgrounds on the conceptions of fictionality then and today. An even more intriguing question seems to be whether the practice of fictional storytelling as we know and conceive it today had already been established during the 18th century or whether it was only in the process of being established.

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Elder, Nicholas A. "Joseph and Aseneth: An Entertaining Tale." Journal for the Study of Judaism 51, no. 1 (February 17, 2020): 19–42. http://dx.doi.org/10.1163/15700631-12511267.

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Abstract This article argues that whatever else Joseph and Aseneth is and for whatever other reason that it might have been written, the narrative is an entertaining tale. The starting point for this thesis is an assessment of the extent to which Joseph and Aseneth can be characterized as “fan fiction.” The article suggests that because both fan fiction and Joseph and Aseneth are “archontic,” fan theory can profitably inform Joseph and Aseneth. This theory is then applied to Joseph and Aseneth to throw new light on the motivation for which Joseph and Aseneth was written, specifically suggesting that, like fan fiction, the narrative is the result of the simultaneous adoration of and frustration with a specific cultural text, namely the Joseph Cycle. The article further contends that the narrative makes extensive use of irony, humor, and adventure as it displays various tendencies of fan fiction.

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Chaabene, Rached. "L’hybridité dans La Steppe rouge de J. Kessel : limite ou complémentarité ?" Quêtes littéraires, no. 6 (December 30, 2016): 56–64. http://dx.doi.org/10.31743/ql.219.

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The Red Steppe of Joseph Kessel is a valuable work, insofar as it is mainly characterized by its generic hybridity. The six novellas oscillate between the biographical and autobiographical, between history and fiction, between the individual and the collective, between the current and the universal. A sort of juxtaposition and/or co-existence can be traced between the novella of Kessel and other literary genres such as the travelogue, the initiation story, the adventure story, the historical narrative and the fictional narrative. This interdiscursive report makes the historical text an open text, "a hybrid text."

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Skinner, Stephen. "‘As a glow brings out a haze’: understanding violence in jurisprudence and Joseph Conrad’s fiction." Legal Studies 27, no. 3 (September 2007): 465–85. http://dx.doi.org/10.1111/j.1748-121x.2007.00063.x.

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This paper explores connections between jurisprudential discussion of pain and violence and the methodology of law and literature. Starting with Robert Cover’s work on law’s ‘field of pain and death’, it argues that the theory on which he relied in rejecting literary approaches to law can equally justify a turn to fiction in understanding violence. It then considers the experiential dimension of Austin Sarat’s and Thomas Kearns’s jurisprudence of violence and argues that interdisciplinary perspectives, including relevant fiction, can assist in engaging with the challenges of capturing such experience in textual form. Situating the argument in relation to broader law and literature rationales, the paper finds relevant illustrations in Joseph Conrad’s Heart of Darkness, The Secret Agent and Under Western Eyes. It argues that Conrad’s stories represent dimensions of pain and violence that might otherwise be irreducible to non-fictional textual discourse, whilst also expressing the limits of that representation.

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Wojciechowska, Sylwia Janina. "Politics and the Inadequacy of Words in Joseph Conrad’s Non-Fiction." Multidisciplinary Journal of School Education 10, no. 1 (19) (June 8, 2021): 47–64. http://dx.doi.org/10.35765/mjse.2021.1019.03.

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The Polish-born English novelist, Joseph Conrad, once challenged the general public with a statement which stigmatized the printed word in wartime coverage as being cold, silent, and colorless. The aim of this article is to investigate the manner in which the writer himself applied words in his wartime non-fictional works in order to bestow a lasting effect on his texts. It is argued that irony renders his non-fiction memorable. Thus, the focus is first placed on the manner in which irony features in Conrad’s political essays, collected in Notes on Life and Letters, from 1921. It is argued that irony applied in his non-fiction represents what Wayne C. Booth termed stable irony. Further, it is claimed that, as a spokesman for a non-existent country, Conrad succeeded in transposing the Polish perspective into a discourse familiar to the British public. This seems possible due to the application of the concept of the body politic and the deployment of Gothic imagery. Finally, the paper examines the manner in which words are effectively used to voice the stance of a moralist on truth and the lie of the printed word in the turbulent times around the end of the 19th century.

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Fernández, Richard Jorge. "Guilt, Greed and Remorse: Manifestations of the Anglo-Irish Other in J. S. Le Fanu’s “Madame Crowl’s Ghost” and “Green Tea”." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 2 (December 23, 2020): 233–51. http://dx.doi.org/10.28914/atlantis-2020-42.2.12.

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Monsters and the idea of monstrosity are central tenets of Gothic fiction. Such figures as vampires and werewolves have been extensively used to represent the menacing Other in an overtly physical way, identifying the colonial Other as the main threat to civilised British society. However, this physically threatening monster evolved, in later manifestations of the genre, into a more psychological, mind-threatening being and, thus, werewolves were left behind in exchange for psychological fear. In Ireland, however, this change implied a further step. Traditional ethnographic divisions have tended towards the dichotomy Anglo-Irish coloniser versus Catholic colonised, and early examples of Irish Gothic fiction displayed the latter as the monstrous Other. However, the nineteenth century witnessed a move forward in the development of the genre in Ireland. This article shows how the change from physical to psychological threat implies a transformation or, rather, a displacement—the monstrous Other ceases to be Catholic to instead become an Anglo-Irish manifestation. To do so, this study considers the later short fictions of Joseph Sheridan Le Fanu and analyses how theDublin-born writer conveys his postcolonial concerns over his own class by depicting them simultaneously as the causers of and sufferers from their own colonial misdeeds.

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rodríguez freire, raúl, and Paco Brito Núñez. "Of Goats, Theorems, and Laws." Critical Times 3, no. 1 (April 1, 2020): 68–86. http://dx.doi.org/10.1215/26410478-8189857.

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Abstract Joseph Townsend’s Dissertation on the Poor Laws (1786) advances the thesis that aid to the poor generates more poverty. It is a work that twists and traduces a number of bibliographic sources in order to produce its famous theorem about goats and dogs, an idea that would have tremendous influence on public policy on overpopulation. The sources of Townsend's Dissertation are based on the figure of Alexander Selkirk, who lived as a castaway on an island of the Juan Fernández Archipelago. This essay analyzes Townsend's sources and takes note of the spread of his proposals, the Robinsonades, and their validation by ostensibly scientific discourses which have asserted their truth value over and above that of literary fictions. In closing, it demonstrates Townsend's own grounding in fiction, and considers the role the shaping power of literature might play in the reimagination of a world out of joint.

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Monolatii, T. P. "PECULIARITIES OF INTERTEXT AND INTERCULTURE PARADIGM OF JOSEPH ROT PROSE." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 283–91. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-283-291.

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The article analyses interpretation of Joseph Roth prose in the context of intertextuality as a literary means. It is determined by the author’s strategy and studied the aesthetic issues that are fundamental to his work. Intertextuality proves a postmodern phenomenon of reinterpretation of classic and new texts, giving them new meanings and establishing parallels with modern literature, which is reflected in an adequate interpretation of their genre and stylistic forms, the interpretation of philosophical concepts, iconic fictional and aesthetic phenomena. So in fiction there is an additional dimension – intercultural component of the artistic world of the text. This theoretical approach is extremely productive, especially in the study of works of those authors; the arts are rooted in different spheres of human existence, formed on the border of their own cultures, languages, historical and national traditions. A good representative of “intercultural” narrative strategy is Joseph Roth. Thus, under conditions of intertextual interaction, the literary work becomes part of a broad intertextual space that covers not only literary, but also outside of literature forms of expression, and any text is in various “dialogical” relations with other texts that fill this space with different language codes that are represented in this space.

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Billy, Theodore. "Joseph Conrad: The Short Fiction (review)." Conradiana 39, no. 2 (2007): 183–86. http://dx.doi.org/10.1353/cnd.2007.0012.

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Dissertations / Theses on the topic "Josiah, in fiction"

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Wong, Man Olive. "Men at work : masculinity, solidarity and solitude in Conrad's Fiction /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161768.

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Cheng, Albert. "Thematics, narrative techniques and imperialism in Conrad's fiction." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272076.

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Caminero-Santangelo, Byron. "African fiction and Joseph Conrad : reading postcolonial intertextuality /." Albany : State university of New York press, 2004. http://catalogue.bnf.fr/ark:/12148/cb40052366r.

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Pye, Patricia Jane. "Sound and modernity in Joseph Conrad's London fiction." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590932.

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While Conrad's representation of London has previously been discussed, these readings have not considered his auditory impressions of the city. This thesis explores this neglected area, in the context of London's changing 'soundscape' in the late-Victorian and early Edwardian period. These changes encompassed a reconstructed topography and conflicts over public spaces, in addition to the appearance of new auditory technologies. The thesis argues for the significance of Conrad's sound impressions in this urban context, posing the original question of whether his fictionalized city 'sounds modern'. Alongside the rapid development of a popular press, the 1890s also witnessed a resurgence of interest in oratory, as the power of the 'platform' played its own part in influencing social change. Chapter I focuses on The Nigger of the 'Narcissus ' and considers Conrad's representation of London's social agitators, together with his auditory impressions of the city's vast crowd. More broadly, the chapter also explores the contemporary figure of the 'workman orator', as characterized through The Secret Agent's Verloc. Chapter 2 focuses on the silences and noises of 'The Return' , arguing that these express much about London's social topographics and contemporary fears about urban disorder. Chapter 3 traces the progress of the 'news' across the city in The Secret Agent, arguing that this novel reflects its transitional era, when the newly literate negotiated the move from a traditionally oral- to print-based culture. Finally, Chapter 4 argues for the influence of music hall on Conrad's work, in particular the contemporary interest in the verbal artistry of its comedians. Marlow's comedic tone in Chance is, located in this context, as an expression of popular performance from a notably modem and urbane figure. The thesis concludes by identifying some interrelated themes which reveal the significance of Conrad's sound impressions to wider discussions about the modernity of his fiction.

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Kim, Jong-Seok. "Seeing the self in the other : narcissism and the double in Joseph Conrad's fiction /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901249.

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Grayson, Erik. "Towards a postmodern absurd : the fiction of Joseph Heller." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19693.

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This thesis examines the entirety of Joseph Heller's career as a novelist and explores the various existential themes uniting a seemingly diverse body of work. Considering Heller's relationship to the philosophy of Albert Camus and Jean-Paul Sartre, "Towards a Postmodern Absurd: The Fiction of Joseph Heller" suggests that the novelist promotes the same existentially authentic lifestyle of revolt originally articulated by the French existentialists. Refuting the critical assessment of Heller's fiction as formless, this thesis argues that Heller deliberately structures his fiction around the concept of dejd vu in order to buttress the author's existential concerns with the absurdity of human existence. Finally, in response to the recent debates over Joseph Heller's place in the postmodern American canon, the thesis identifies the author's use of such postmodern concepts as pastiche and paranoia as a further reinforcement of the relevance of an absurdist worldview in contemporary America.

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Buyu, Mathew Osunga. "Racial intercourse in Joseph Conrad's Malayan and African fiction." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362812.

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Arab-Fuentes, Rémy. "L'appartenance et ses enjeux dans la fiction de Joseph Conrad." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30052.

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Notre étude de l’appartenance passe par l’étude de différentes formes de communautés, leur genèse, les principes et les modèles sur lesquelles elles sont construites. Si la communauté de parole ou la communauté organique (Gemeinschaft) apparaissent rapidement comme des idéaux communautaires auxquels de nombreux personnages aspirent, ces formes d’appartenance se désagrègent souvent sous la pression d’une autre forme d’appartenance de fait, incarnée par la société moderne mercantile (Gesellschaft). La crise de l’appartenance s’exprime à travers des ressorts narratifs récurrents comme la trahison ou l’exil, et interroge de manière plus large la pertinence des changements au sein des collectifs, qu’il s’agisse d’insurrection à bord des navires ou de révolution sur la terre ferme. Dans la fiction de Conrad, l’expression de l’appartenance se cristallise autour de deux figures de style : la synecdoque et la métonymie. Ces figures permettent un double mouvement crucial à l’esthétique conradienne : d’abord de mettre en lumière une partie en rappelant son appartenance à un ensemble et ainsi de perpétuellement considérer leur objet en contexte, pour ce qu’il est mais également pour ce qu’il représente ; puis, dans un second temps, par le biais de cette première mise en lumière rappeler l’existence d’un reste qui n’est pas mentionné, mais dont l’ensemble est tout de même constitué, qui n’est jamais cité directement mais seulement indirectement convoqué, en ellipse, pour rappeler son appartenance à l’ensemble duquel la partie mise en lumière par la figure est tirée. Ces figures permettent d’articuler la présence et l’absence et complexifier les modalités d’appartenance. C’est la figure du spectre qui vient hanter la prose de Conrad et incarner ce paradoxe. A la fois mort et vivant, le spectre n’est finalement ni l’un, ni l’autre. Figure de l’altérité et du même, le spectre renvoie toute communauté à ce qui lui appartient mais également à ce qui ne lui appartient pas, cristallise les enjeux de l’appartenance de manière à évacuer l’idée d’appartenance exclusive et lui substituer l’idée d’« entretien », de compagnonnage avec les spectres. De cette forme d’appartenance émerge l’injonction forte d’une solidarité réciproque telle qu’elle est souvent exprimée dans l’œuvre de Conrad
Our study of belonging relies on the analysis of communities in Conrad’s fiction: their forms, their origins, the principles and patterns on which they are built. The community of speech and the organic community soon appear to be the ideal forms to which characters naturally strive to belong (Gemeinschaft). Yet, these forms of community are defeated by another, historically more recent, form of belonging: modern mercantile society (Gesellschaft). This crisis of belonging is embodied in recurring dramatic patterns like betrayal or exile. On a larger scale, the constant failures of belonging question the relevance of changes in communities, whether it be through an insurrection on a sailing ship or through a revolution on land. In Conrad’s fiction, belonging is expressed through two major figures of speech: the synecdoche and the metonymy. On the one hand, these figures allow Conrad’s aesthetics to put the emphasis on a part while at the same time asserting its belonging to a larger whole and therefore constantly placing the part in context — for what it is but also for what it represents. On the other hand, because the emphasis is put on a single given part, these figures reveal or remind us of the existence of something else, something that remains, which also belongs to the whole the emphasised part belongs to. This whole, placed under an ellipsis by the figure, is never explicitly mentioned yet always present. These figures of speech manage to express presence and absence at the same time, thereby changing the modalities of belonging. The figure of the spectre embodies such a paradox. At the same time alive and dead, the spectre proves to be neither and both. It symbolizes alterity at the heart of sameness and because it presents every community with what necessarily belongs and cannot belong to it at the same time, encapsulates the issues of belonging in ways that defeat exclusive belonging and substitutes it for a form of ‘upkeep’, of companionship with ghosts. From this form of belonging stems a strong sense of reciprocal solidarity as it is often expressed in Conrad’s fiction

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Glazzard, Andrew. "Character types from populist genres in Joseph Conrad's urban fiction." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590818.

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This thesis investigates the relationship between literary and popular/populist fiction by examining Conrad's use of five character types common in popular fiction in the late nineteenth and early twentieth centuries: the detective, the infonner/spy, the spymaster, the anarchist/terrorist, and the swindler. Conrad's fiction has previously been situated in relation to 'exotic' genres such as adventure fiction ; what is original about my thesis is its use of a very wide range of texts from 'urban' genres such as detective and espionage fiction to reconstruct what Conrad's contemporary readers would have expected from novels featuring the character types listed above. This enables a more thorough examination of Conrad's engagement with urban genres than has previously been attempted, using popular texts not previously examined in relation to Conrad. The thesis argues that Conrad appropriated character types from populist genres for three reasons: as a commercial strategy to make his fiction marketable, as a way of responding to topical or contentious social and political issues, and as a means of creative experimentation. The thesis argues that Conrad's fictions are simultaneously ' literary' and 'popular', and that Conrad achieved distinctive aesthetic effects by applying particular literary techniques - what he called "treatment" - to popular subjects such as crime and espionage. This rewriting of genre fiction enabled Conrad to balance the demands of the literary marketplace with artistic and ethical aspirations, and to produce a wide range of narratives that varied significantly in aesthetic effect.

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Robin, Christophe Paccaud-Huguet Josiane. "L'être et la lettre la tragédie de l'écriture dans la fiction de Joseph Conrad /." [S.l.] : [s.n.], 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/robin_c.

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Books on the topic "Josiah, in fiction"

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Arterburn, Stephen. Josiah. Wheaton, Ill: Tyndale House, 2004.

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Avery, Ben. Josiah: The coming storm : a biblical fiction. Grand Rapids, Mich: Zondervan, 2007.

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The Josiah files. Nashville: T. Nelson Publishers, 1993.

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Bolton, Martha. Josiah for president. Grand Rapids, Mich: Zondervan, 2012.

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Avery, Ben. Scions of Josiah. Grand Rapids, Mich: Zondervan, 2007.

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On Loving Josiah. London: Arcadia Books Ltd, 2011.

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Littlesugar, Amy. Josiah True and the art maker. New York: Simon and Schuster Books for Young Readers, 1995.

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Keam, Abigail. Death by a honey bee: A Josiah Reynolds mystery. Nicholasville, KY: Worker Bee Press, 2010.

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Law, Richard. Book of Josiah: A novel of the apocalypse. Waterbury, CT: Fine Tooth Press, 2008.

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The scorpion trail: A Josiah Wolfe, Texas Ranger novel. Waterville, Me: Thorndike Press, 2010.

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Book chapters on the topic "Josiah, in fiction"

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Peck, John. "Joseph Conrad." In Maritime Fiction, 165–85. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780333985212_10.

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Simmons, Allan H. "Conrad’s Shorter Fiction." In Joseph Conrad, 156–72. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-20959-6_6.

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Donovan, Stephen. "Magazine Fiction." In Joseph Conrad and Popular Culture, 161–90. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230513778_5.

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Craig, David M. "Joseph Heller." In A Companion to Twentieth-Century United States Fiction, 411–19. Oxford, UK: Wiley-Blackwell, 2009. http://dx.doi.org/10.1002/9781444310108.ch38.

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Robertson, P. J. M. "F. R. Leavis and The Great Tradition: George Eliot, Henry James, Joseph Conrad." In The Leavises on Fiction, 27–49. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-09670-1_3.

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Villiers, Peter. "Sharing the Secret: Joseph Conrad on Leadership at Sea." In Fictional Leaders, 18–36. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137272751_3.

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Robinson, Richard. "Recreating Habsburg Borders: The Later Fiction of Joseph Roth." In Narratives of the European Border, 66–99. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230287860_4.

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Deggan, Mark. "Cross-cultural Accord in the Malay Fiction: The Performative Politics of Conrad’s Eastern World." In Joseph Conrad and Postcritique, 187–210. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72499-3_9.

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Seed, David. "Introduction." In The Fiction of Joseph Heller: Againts the Grain, 1–5. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20007-8_1.

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Seed, David. "The Road to Catch-22." In The Fiction of Joseph Heller: Againts the Grain, 7–21. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20007-8_2.

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Conference papers on the topic "Josiah, in fiction"

1

Brakovska, Jelena. "JOSEPH SHERIDAN LE FANU: METAMORPHOSES AND INNOVATIONS IN GOTHIC FICTION." In CBU International Conference on Integration and Innovation in Science and Education. Central Bohemia University, 2013. http://dx.doi.org/10.12955/cbup.2013.32.

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2

Colonnese, Fabio. "Le Corbusier and the mysterious “résidence du président d’un collège”." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.774.

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Abstract:

Abstract: At the very end of his travel to United States, Le Corbusier conceived and designed a modern villa that he lately inserted in the third volume of his Oeuvre Complete with the title ‘Résidence du président d’un college près Chicago’ and few words below describing it. He interpreted a simple request for suggestions by Joseph Brewer, the president of the Olivet College, Michigan, into an actual commission for a new house that responded to the kind of works he expected from his American admirers. He possibly designed it in a few hours’ time from Kalamazoo to Chicago but the autograph hand-drafted plans and bird’s-eye perspective view in the Oeuvre Complete congruently describe a well-thought project showing a number of affinities with his most celebrated European houses. The villa can be considered as an aware modular assemblage of parts that he had previously designed or even built, tied together by a long and suggestive promenade architecturale, to offer the “timid” American people a sort of full scale model to introduce them to his vision of modern life. By analyzing Le Corbusier’s sketches and conjecturing both dimensions and missing elements from previous designs, a threedimensional digital model has been elaborated to virtually visit the résidence and understand its fictive and educational value. Keywords: Le Corbusier; Joseph Brewer; Olivet College; Promenade architecturale; Intertextuality; Digital Model. DOI: http://dx.doi.org/10.4995/LC2015.2015.774

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