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Journal articles on the topic 'Josiah, in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Kaufmann, Sebastian. "Reconstruction--Fiction--Transfer." Transfers 6, no. 3 (December 1, 2016): 65–82. http://dx.doi.org/10.3167/trans.2016.060306.

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Artistic practices in ethnological knowledge transfer can be found in the wellknown account of James Cook’s first voyage (1768–1771) by John Hawkesworth (Account of the Voyages […] in the Southern Hemisphere, 1773), which shows that such travel accounts are not only vehicles of knowledge transfer but also means of knowledge (re)construction, and at times this process of remolding knowledge extends to a rewriting that includes elements of fiction. Hence, the article will draw on the material assembled by Cook and Joseph Banks in their Endeavour Journals to identify in Hawkesworth’s examples of (ethno-aesthetic) knowledge construction and “invention.” A comparison of the diff erent types of texts is rewarding not least because Hawkesworth’s account strove to present the new knowledge to a broader audience. An identification of Hawkesworth’s departures from his sources facilitates the reading of the act of knowledge transfer as a process of knowledge transformation.

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12

Barone, Dennis. "Machines are Us: Joseph Papaleo and the Literature of Sprawl." Forum Italicum: A Journal of Italian Studies 42, no. 1 (March 2008): 99–113. http://dx.doi.org/10.1177/001458580804200106.

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This essay examines the work of Italian American fiction writer Joseph Papaleo in the context of suburbanization, globalization, and ethnic heritage and identity. In doing so I demonstrate that Papaleo's fiction provides understanding of how Italian Americans have looked at Italy as they experienced the alienation of a consumer culture. Papaleo's fiction presents a mixed nostalgia for what Italy represents and recognition that it, too, like the United States, confronts continuous auto-dependent sprawl. Papaleo adds a suburban focus to the more frequently urban-centered literature of Italian Americans and he adds an ethic perspective to the predominantly Anglo American literature of the suburbs. His 1970 novel Out of Place depicts a materially successful Italian American, Gene Santoro, who cannot fill a deeper spiritual need in either the United States or Italy.

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13

Corcoran, Steven. "The lost thread of strategy: Lord Jim, Jacques Rancière and dreaming." Maska 32, no. 185 (September 1, 2017): 32–42. http://dx.doi.org/10.1386/maska.32.185-186.32_1.

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This paper discusses Rancière’s recent work The Lost Thread: The Democracy of Modern Fiction. Similar to his directly preceding work, Aisthesis, The Lost Thread explores the transformation of the very paradigm of fiction itself with the advent of modern realism in its break with the conventions of belles lettres. For Rancière, the specific logic of modern fiction, its democracy, consists in a logic of (im)purity that generates what he calls effects of equality. The specificity of modern fiction thus yields a rather different idea of the politics of fiction than that conveyed by modernist readings and epitomized by Roland Barthes’ notion of the reality effect. This paper discusses the logic of this change in fiction implicit within Rancière’s account, a logic the author refers to as ‘creative destruction’ in contradistinction to modernist dialectics; second, it explores the kind of subject implied by this fiction – where subject is understood both as the kind of limit situation that this fiction recounts and the constitution of its characters. Third, the author briefly suggests that Rancière’s reading of the logic of the event, in particular in Joseph Conrad’s Lord Jim, can be seen as sketching an answer to why it is that the key question of ‘how are we to live?’ only ever comes after the event.

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14

Keeble, Arin. "Joseph O’Neil’s Netherland and 9/11 Fiction." European Journal of American Culture 31, no. 1 (April 9, 2012): 55–71. http://dx.doi.org/10.1386/ejac.31.1.55_1.

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15

Saunders, Robert A. "Reimagining the colonial wilderness: ‘Africa’, imperialism and the geographical legerdemain of the Vorrh." cultural geographies 26, no. 2 (November 11, 2018): 177–94. http://dx.doi.org/10.1177/1474474018811669.

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Novelists and other cultural producers have long employed the African continent as a palimpsest to construct fantastical tales. From Sir John Mandeville to Joseph Conrad, Africa’s blank spaces on the map have been filled with monstrous creatures that fuel the western imagination. As a consequence, this constant othering of the so-called ‘Dark Continent’ has had a deleterious impact for African states and their citizenries, as spectacularly evidenced in U.S. President Donald Trump’s now-infamous labelling of the entire continent as a host of ‘shithole countries’. This article wrestles with the continuation of this trend in popular culture via an empirical examination of the speculative fiction of the British novelist and performance artist, B. Catling. Publishing in 2015, The Vorrh is the first of the three novels set in a parallel Africa, specifically a former German colony that is home to remnants of the Garden of Eden. Focusing on the enchanted forest known as the Vorrh and the colony’s (fictional) capital, Essenwald, this article employs methods drawn from geocriticism and popular geopolitics to interrogate Catling’s built-world. This is done with the aim of connecting structures of iteration in the representation of fictional ‘Africas’ to the West’s imperially inflected geopolitical codes towards the actual physical and human geographies that constitute the world’s second largest and most populous continent.

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16

LATHAM, PETER. "“Irreversible Torpor”: Entropy in 1970s American Suburban Fiction." Journal of American Studies 54, no. 1 (July 5, 2018): 131–58. http://dx.doi.org/10.1017/s0021875818000956.

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Although entropy has been identified as a theme in urban American fiction of the 1960s, it is far more significant in a strand of 1970s suburban fiction, in Joseph Heller'sSomething Happened(1974), John Updike'sRabbit Is Rich (1981), and the stories of Raymond Carver. I argue that in these texts the suburbs function as closed systems, subject to entropy, and that the suburbanite protagonists have a heightened sense of physical and metaphysical entropy, a reflection in part of the prevailing sense of irreversible economic and cultural decline and decay in that decade

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17

Martin, Theodore. "War-on-Crime Fiction." PMLA/Publications of the Modern Language Association of America 136, no. 2 (March 2021): 213–28. http://dx.doi.org/10.1632/s003081292100002x.

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AbstractThis essay tells the story of how the War on Crime helped remake American crime fiction in the 1960s and 1970s. Amid starkly racialized public anxieties about rising crime rates and urban uprisings, Lyndon B. Johnson officially launched the War on Crime in 1965. The cultural logic of Johnson's crime war infiltrated various kinds of crime writing in the ensuing decade. Tracking the crime war's influence on the police procedurals of Joseph Wambaugh; the Black radical novels of Sam Greenlee, John A. Williams, and John Edgar Wideman; and the vigilante fiction of Donald Goines and Brian Garfield, I argue that crime fiction in the War-on-Crime era emerged as a key cultural site for managing divergent political responses to a regime of social control that worked by criminalizing both race and revolt. By studying how novelists responded to the formative years of the War on Crime, we can begin to understand the complex role that literature played in alternately contesting and abetting the postwar transformation of the United States into a carceral state.

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18

Saint-Gelais, Richard. "Orbites elliptiques de la proto-science-fiction québécoise : Napoléon Aubin et Louis-Joseph Doucet dans les parages de Cyrano de Bergerac et de Jules Verne." Études 27, no. 3 (August 10, 2006): 493–503. http://dx.doi.org/10.7202/013325ar.

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Résumé La science-fiction, au moment où elle était en passe de se constituer comme genre, s'est articulée à diverses formes discursives déjà bien instituées : récit de voyage imaginaire, conte philosophique, vulgarisation, etc. Cette effervescence interdiscursive de la « proto-science-fiction » s'est aussi accompagnée d'articulations intertextuelles, comme le montrent deux précurseurs de la science-fiction québécoise, « Mon voyage à la Lune » (1839) de Napoléon Aubin et « Lettre écrite de la Lune » (1911) de Louis-Joseph Doucet, qui se placent dans la mouvance, respectivement, de L'autre monde de Cyrano de Bergerac et du De la Terre à la Lune de Verne. Un examen de ces textes permet de montrer, à travers la transformation du rapport à leurs « modèles », la lente mise en place d'un espace générique cristallisé mais mouvant.

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19

Stevenson, Randall. "“One does what one can (on fait ce qu’on peut)”: Joseph Conrad as Translator." American, British and Canadian Studies 32, no. 1 (June 1, 2019): 52–62. http://dx.doi.org/10.2478/abcsj-2019-0005.

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Abstract Joseph Conrad’s fiction – Lord Jim especially – contains several instances of characters struggling with translation, or with foreign languages more generally, or transferring speech or syntactic patterns from one language to another. These features have much to suggest about Conrad’s own multilingual early life and his eventual adoption of English for his writing. They also have wider implications concerning his vision and tactics as a novelist – including his reliance on French fiction, and his regular emphases on cultural difference and on the cognitive and epistemological challenges of communicating experience. These challenges, in turn, initiate or anticipate concerns widely apparent in modernist fiction, indicating stresses in an advancing, globalised modernity which made its innovations so necessary. Appreciating Conrad’s interest in translation elucidates and confirms Fredric Jameson’s judgement of his writing as a key factor in the emergence of modernism in the early twentieth century.

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20

Purssell, Andrew. "Empire and Modernism in Joseph Conrad’s ‘Karain: A Memory’." Review of English Studies 71, no. 299 (September 28, 2019): 355–69. http://dx.doi.org/10.1093/res/hgz111.

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Abstract Joseph Conrad’s ‘Karain: A Memory’ (1897) is not often cited as a landmark of literary modernism. Conrad’s Malay story appeared during the year in which The Nigger of the ‘Narcissus’ announced his arrival as an author with modernist ambitions. It also belongs to the same Blackwood’s period of his early career that produced arguably his most celebrated work, ‘Heart of Darkness’. Whereas these stories consensually exemplify Conrad’s modernism, ‘Karain’ tends to be construed as an early working-through of the contemporary popular influences that shaped his literary output. Yet, in a significant sense, it also dramatizes the colonial encounter that defined some of the conceptual contours of modernism. This essay explores the story’s composition, early transmission and reception, its self-conscious engagement with its popular cultural lineage, and Conrad’s parallel emergence as a writer of ‘challenging’ fiction. Its aim is not merely to recuperate ‘Karain’ as a work of early modernism, nor simply to re-evaluate Conrad’s story as a rehearsal, in terms of its interrogative relationship with imperialism, for some of his more overtly anti-colonialist fiction. Rather, its wider focus is on how Conrad’s story reflects upon the nature of empire and modernism as mutually sustaining enterprises, and, counter to the view of other modernist authors such as T. S. Eliot, how colonial fiction and modernist writing are not antithetical but rather interrelated literary practices.

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21

Allen, William Rodney, and David Seed. "The Fiction of Joseph Heller: Against the Grain." American Literature 63, no. 1 (March 1991): 151. http://dx.doi.org/10.2307/2926589.

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22

Garstad, Benjamin. "Joseph as a Model for Faunus-Hermes: Myth, History, and Fiction in the Fourth Century." Vigiliae Christianae 63, no. 5 (2009): 493–521. http://dx.doi.org/10.1163/157007208x389875.

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AbstractFaunus-who-is-also-Hermes is one of the composite god-kings dealt with in the polemical Christian 'Picus-Zeus narrative' of the fourth century. The narrative of his life is based on the Biblical account of Joseph, along with the elaborations on Joseph's life in Hellenistic Jewish fiction. Whereas Joseph is a virtuous hero, however, Faunus-Hermes is a villain who practices sorcery and usurpation and ultimately induces men to worship him as a god. The Hellenistic novels and especially the philosophical considerations of Philo of Alexandria accentuate the ambiguities in Joseph which might allow a bad character to be developed out of his good character. The Clementine Recognitions, moreover, offer an understanding of history and human character according to which good and evil come in contrasting and inimical pairs. Altogether, the use of Joseph as a model for Faunus-Hermes allows the author to subtly introduce a moral message in what seems to be a blunt and unadorned history.

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23

Rauf, Raad S., and Krm E. Danail. "Narrators' Credibility." Cihan University-Erbil Journal of Humanities and Social Sciences 5, no. 1 (May 10, 2021): 35–38. http://dx.doi.org/10.24086/cuejhss.v5n1y2021.pp35-38.

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The debate on the reliability of the story teller or narrator in fiction writing is so intense to the degree of controversy. Ever since the early stages of fiction writing, most of the novelists seek new methods and techniques in writing their stories. Some of them have achieved success and became known worldwide, and their works have become masterpieces and essential landmarks in the world of fiction. These works have been among the curricular subjects taught in the most esteemed universities in the world. These eminent works have mostly been tackled thematically by reason of the novelty and importance of their themes, yet there are only a handful critiques on their technical aspects, style, diction being used, or narrative methods. This is a comparative study of some of such works like F. Scott Fitzgerald’s The Great Gatsby in comparison with some other works such as Joseph Conrad’s Heart of Darkness and Emily Bronte’s Withering Heights.

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24

Seed, David, and David M. Craig. "Tilting at Mortality: Narrative Strategies in Joseph Heller's Fiction." Modern Language Review 94, no. 3 (July 1999): 817. http://dx.doi.org/10.2307/3737034.

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25

Pham-Thanh, Gilbert. "Joseph Kestner, Masculinities in British Adventure Fiction, 1880–1915." Cahiers victoriens et édouardiens, no. 74 Automne (November 14, 2011): 245–47. http://dx.doi.org/10.4000/cve.1416.

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26

Dollenmayer, David. "History and Fiction: The Kaiser in Joseph Roth's "Radetzkymarsch"." Modern Language Studies 16, no. 3 (1986): 302. http://dx.doi.org/10.2307/3194910.

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27

Jeremy Hawthorn. "Bringing History to Fiction: Joseph Conrad and the Holocaust." Partial Answers: Journal of Literature and the History of Ideas 9, no. 1 (2011): 41–63. http://dx.doi.org/10.1353/pan.2011.0007.

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28

Mongia, Padmini. "African Fiction and Joseph Conrad: Reading Postcolonial Intertextuality (review)." MFS Modern Fiction Studies 53, no. 3 (2007): 634–37. http://dx.doi.org/10.1353/mfs.2007.0066.

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29

Dawsey, J. "The Literary Unity of Luke-Acts: Questions of Style – a Task for Literary Critics." New Testament Studies 35, no. 1 (January 1989): 48–66. http://dx.doi.org/10.1017/s0028688500024498.

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Joseph Tyson's The Death of Jesus in Luke-Acts and Robert Tannehill's The Narrative Unity of Luke-Acts, published in 1986, are good examples of the interpretive wealth being mined by scholars who are adopting literary-critical methods for approaching the Lukan writings. What most distinguishes these critics' approaches from older, more familiar ones is the claim that the Bible's historical narratives are imaginative re-enactments of history – thus, in form, more akin to fiction than to theology, biography, or history. Robert Alter called the Biblical stories ‘historicized fiction’, meaning in our case that the author of Luke and Acts employed the artifices of fiction-writing, among others, supplying feeling and motives and creating speeches and dialogue for his characters. Professors Tyson and Tannehill, and other literary scholars like them, are helping us better discern how these techniques were used in Luke and Acts, thus opening new windows to the characters, the way that the author ascribes intentions to them, the plot, themes, nuances, points of view, uses of irony, and word-plays and associations in the writings.

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Parandeh, Alireza, and Hossein Pirnajmuddin. "‘Minding’ the Style: Reading Conrad through Cognitive Poetics." International Letters of Social and Humanistic Sciences 52 (May 2015): 44–54. http://dx.doi.org/10.18052/www.scipress.com/ilshs.52.44.

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Cognitive Poetics works on the triangle of author-text-reader. A main focus is the reader of literature, as a co-producer of the text alongside the author, in an attempt to explain how his/her knowledge and experiences are applied in reaching an understanding of a particular text in a particular context. In this paper several examples of how contextual frames can operate in a narrative are discussed in three works of short fiction by Joseph Conrad. Analyzed in the particular context of Conradian narrative and prose style are such points as: how the readers begin a story, how they enter into the interior levels of it in order to feel and touch the events in the way its characters do, how they follow every episode of it and, in other words, how the readers ‘comprehend’ the narrative. It is argued that the application of insights from cognitive poetics to Conrad’s fiction is of particular relevance as Conrad is a writer who embodies and foregrounds this very act and process of ‘comprehending’ in his fiction.

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Robin, Régine. "La politique imaginaire de Joseph Roth." Études françaises 31, no. 3 (March 29, 2006): 19–42. http://dx.doi.org/10.7202/035997ar.

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Résumé II s'agit de montrer comment fonctionne la «toute-puissance» de l'écrivain non seulement dans la littérature, mais dans la vie transformée en fiction. L'auteure interroge les lieux où se met en place, à travers le mythe de l'Empire des Habsbourg, la constitution imaginaire de soi comme sujet et comme sujet d'une politique imaginaire qui va permettre aux fantasmes de prendre corps dans l'écriture à la fois autobiographique, fïctionnelle et aussi dans la correspondance. Les multiples personnalités de Joseph Roth, que ce soit à travers ses propres métamorphoses ou celles de ses personnages, inaugurent l'éclatement postmoderne des identités, question qui nous concerne au premier chef aujourd'hui.

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Lu, Wenyu, Sung-Min Lee, and Se-Eun Jhang. "A Corpus-Based Stylistic Analysis of Joseph Conrad’s Maritime Fiction." Journal of Modern British & American Language & Literature 34, no. 4 (November 30, 2016): 267. http://dx.doi.org/10.21084/jmball.2016.11.34.4.267.

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Dupas, Jean-Claude. "Récit aventureux ou espaces de la fiction dans Joseph Andrews." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 31, no. 1 (1990): 43–69. http://dx.doi.org/10.3406/xvii.1990.1887.

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Campo, J. N. F. M. à. "Joseph Conrad's “Youth:” A Sea Story between History and Fiction." International Journal of Maritime History 24, no. 1 (June 2012): 29–60. http://dx.doi.org/10.1177/084387141202400103.

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Hughes, Jon. "Violence, Masculinity and Self: Killing in Joseph Roth's 1920s Fiction." German Life and Letters 53, no. 2 (April 2000): 216–30. http://dx.doi.org/10.1111/1468-0483.00161.

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Bandrovska, Olha. "ANALYTICAL ANTHROPOLOGY AND A CLOSE READING OF JOSEPH CONRAD’S FICTION." Inozenma Philologia, no. 129 (October 15, 2016): 197–201. http://dx.doi.org/10.30970/fpl.2016.129.614.

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Klimková, Simona. "A man in crisis: selected short fiction of Joseph Conrad." Ars Aeterna 7, no. 2 (December 1, 2015): 23–30. http://dx.doi.org/10.1515/aa-2015-0008.

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Abstract Joseph Conrad devoted twenty years to the writing of short stories. The wide range of subject and setting, spanning from sea stories to domestic tales, managed to constitute Conrad’s reputation as a master story-teller capable of capturing his audience with any theme. While the stories vary in quality, length and themes explored, they all oscillate around the subject of human psyche, with its unpredictability and dark corners portrayed in a rather complex way. The paper seeks to explore the vision of humanity, emerging from Conrad’s short fiction, as well as the literary devices which enable him to capture the essence of human struggle. It focuses primarily on Conrad’s extensive use of figurative language, which contributes to the lyrical quality of his texts, and enables him to express the anguish and disintegration of his characters.

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Brakovska, Jelena. "JOSEPH SHERIDAN LE FANU: METAMORPHOSES AND INNOVATIONS IN GOTHIC FICTION." CBU International Conference Proceedings 1 (June 30, 2013): 182–87. http://dx.doi.org/10.12955/cbup.v1.32.

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Notwithstanding the fact that the Anglo-Irish writer Joseph Sheridan Le Fanu was one of the most popular writers of the British Victorian era, his name and most of his works are not well-known to a common reader. The present research investigates how the author inventively modifies traditional Gothic elements and penetrates them into human’s consciousness. Such Le Fanu’s metamorphoses and innovations make the artistic world of his prose more realistic and psychological. As a result, the article presents a comparative literary study of Le Fanu’s text manipulations which seem to lead to the creation of Le Fanu’s own kind of “psychological” Gothic.

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Laskar, Rizia Begum. "‘Never Just a Game’: Storytelling, Gaming, and Death in Luka and the Fire of Life and Joseph Anton." International Research in Children's Literature 14, no. 3 (October 2021): 330–40. http://dx.doi.org/10.3366/ircl.2021.0414.

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Salman Rushdie's Luka and the Fire of Life and Joseph Anton both reflect on his concerns with death along with an attempt to keep the process of storytelling alive. This article explores Rushdie's addressing of the literal threat of death in the memoir and the metaphorical death of storytelling abilities in the children's fiction. The emphasis of this article is on Rushdie's usage of gaming and virtual reality to retain his authority in the storytelling world.

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Aberbach, David. "Fantasies of Deviance in Mendele and Agnon." AJS Review 19, no. 1 (April 1994): 45–60. http://dx.doi.org/10.1017/s0364009400005365.

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Fantasies of deviance, including latent homosexuality, are not a major or overt theme in the fiction of Mendele Mocher Sefarim (pen name of S. Y. Abramowitz, 18357–1917) and Samuel Joseph Agnon (1888?–1970) but are, nevertheless, an unmistakable part of the characters whom they depict. These characters, for various reasons and to varying degrees, are deflected from normal heterosexual attachments and are inclined, for this reason, to forms of perversion which at times mirror the distortions and breakdown in the societies in which they live.

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Carabine, Keith, Daphna Erdinast-Vulcan, Peter Edgerly Firchow, and Linda Dryden. "The Strange Short Fiction of Joseph Conrad: Writing, Culture, and Subjectivity." Yearbook of English Studies 32 (2002): 310. http://dx.doi.org/10.2307/3509102.

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Fincham, Gail. "The representation of cultural difference and the fiction of Joseph Conrad." Social Dynamics 19, no. 1 (June 1993): 52–65. http://dx.doi.org/10.1080/02533959308458543.

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Braham, Jeanne. "The Fiction of Joseph Heller: Against the Grain (review)." MFS Modern Fiction Studies 36, no. 2 (1990): 246–47. http://dx.doi.org/10.1353/mfs.0.0397.

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Merrill, Robert. "Book Review: Tilting at Mortality: Narrative Strategies in Joseph Heller's Fiction." MFS Modern Fiction Studies 44, no. 4 (1998): 1008–10. http://dx.doi.org/10.1353/mfs.1998.0079.

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Ennis, Daniel J. "Naval Impressment in Tobias Smollett's Roderick Random." Albion 32, no. 2 (2000): 232–47. http://dx.doi.org/10.2307/4053773.

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In his discussion of Joseph Conrad's fiction in The Political Unconscious Fredric Jameson writes: the sea is the empty space between the concrete places of work and life; but it is also, just as surely, itself a place of work and the very element by which an imperial capitalism draws its scattered beachheads and outposts together, through which it slowly realizes its sometimes violent, sometimes silent and corrosive, penetration of the outlying precapitalist zones of the globe.This linkage of the sea with capitalism allows Jameson to deal with Conrad's novels (especially Lord Jim and Nostromo) as, to use Jameson's own phrase, socially symbolic acts—the sea is “the privileged place of the strategy of containment” and it provides Conrad a laboratory where “human relations can be presented in all their ideal formal purity.” Jameson has identified nautical fiction's important place in any story of the novel—the confining (yet paradoxically freeing) nature of the sea (and the ship) screens out the extraneous material of the world, forcing confrontation, laying bare power relations and allowing the writer to focus on the human condition. The sea allows for only the essentials: clearly defined hierarchies, and life and death on easy terms. Jameson links Conrad with high modernism and thus with capitalism, but his positioning of the sea in relation to power and history can be, I believe, “read back” and then applied (in a necessarily nascent form) to the literary sea of the eighteenth century.

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Kucała, Bożena. "Reanimating the English Historical Novel in the Twenty-First Century – The Case of David Mitchell’s the Thousand Autumns of Jacob De Zoet." Studia Anglica Posnaniensia 53, no. 1 (March 1, 2018): 203–22. http://dx.doi.org/10.2478/stap-2018-0009.

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Abstract This article argues that David Mitchell’s novel The Thousand Autumns of Jacob de Zoet (2010) represents a new variation of the genre of historical fiction. The historical novel in Britain has risen to prominence since the 1980s and in the twenty-first century this strong interest in the past continues. Placing David Mitchell’s book in the context of recent historical fiction, the article takes account of Joseph Brooker’s hypothesis that, together with Hilary Mantel’s Tudor novels, The Thousand Autumns of Jacob de Zoet may be indicative of an emergent trend in the contemporary English historical novel. The purpose of the article is to identify and explore Mitchell’s key strategies of writing about history. It is argued that, departing from the prevalent mode of historiographic metafiction, Mitchell’s book adheres to some of the traditional tenets of the genre while achieving the Scottian aim of animating the past in innovative ways. The analysis leads to the conclusion that the use of the present tense, the subjective perspectives, and the exclusion of foreknowledge lend the novel dramatic qualities.

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Skinner, Stephen. "Everything is dislocated: reading (dis)connections in Joseph Conrad and theories of justice and violence." Legal Studies 28, no. 4 (December 2008): 591–609. http://dx.doi.org/10.1111/j.1748-121x.2008.00105.x.

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The relationship between law and justice has long been a concern of legal theory, but the gap of uncertainty, or aporia, between them has been a particular focus of recent jurisprudence. Some theorists, such as Costas Douzinas and Ronnie Warrington, have focused on the cleavage between judgment and the aspiration to ethical justice to the Other, while others, such as Robert Cover, Austin Sarat and Thomas Kearns, have worked on the gulf between law and justice in the face of violence and pain, within, caused by and before the law. This paper suggests that such theories are primarily concerned with problematised dislocation, as a critical technique and an observed state, which is also to be found in modernist fiction, especially in Joseph Conrad's Weltanschauung and literary style. It is argued that examining the disconnections that characterise Conrad's fiction, through engagement with his stories and secondary commentaries thereon, and combining that analysis with the study of dislocation in legal theory, permit the development of a richer picture of these shared concerns. On this basis, the paper constructs a distinct concept of ‘dislocation’ and suggests how it can supplement jurisprudential discussion.

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Subotsky, Fiona. "In a Glass Darkly (1872), J. Sheridan LeFanu." British Journal of Psychiatry 195, no. 2 (August 2009): 162. http://dx.doi.org/10.1192/bjp.195.2.162.

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Joseph Sheridan Le Fanu (1814-1873) is another literary Dubliner. Having studied law at Trinity College, he became a journalist and author, famous for both his sensationalist novels and his supernatural tales. For In a Glass Darkly Le Fanu used a technique common in gothic fiction by having a narrator/editor who presents past documents, in this instance of mysterious medical case histories from the papers of the nowdeceased Dr Hesselius. The latter is a European ‘metaphysical physician’ with Swedenborgian leanings who likes to investigate curious psychological phenomena. He considerably resembles the later Professor Van Helsing from Bram Stoker's Dracula.

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Hinz, Evelyn J. ": Tradition Counter Tradition: Love and the Form of Fiction. . Joseph Allen Boone." Nineteenth-Century Literature 43, no. 4 (March 1989): 528–31. http://dx.doi.org/10.1525/ncl.1989.43.4.99p0201n.

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Lázaro, Alberto. "The Dark Side of British Horror Fiction: Politics, Taboos and Censorship." ELOPE: English Language Overseas Perspectives and Enquiries 14, no. 2 (December 22, 2017): 69–81. http://dx.doi.org/10.4312/elope.14.2.69-81.

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Nearly two and a half centuries have passed since the first British Gothic novels began to attract attention with their pages full of monstrous characters, excessive violence, explicit sexual content and all kinds of horrific scenes. For the most part, the reception of this type of literature has been very positive, though not exempt from controversies. This paper seeks to show how, beyond the alluring mystery, inventive plots and attraction of the dark side, British horror fiction appeals to the reader’s inner desires and imagination by means of transgressive political, religious or sexual contents that often defy taboos and social decorum. To illustrate this argument, three well-known authors and texts from three different periods will be discussed: Matthew Gregory Lewis’s The Monk (1796), Joseph Sheridan Le Fanu’s “Carmilla” (1872) and Anthony Burgess’s A Clockwork Orange (1962).

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