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Books on the topic 'Literary quote'

Author: Grafiati

Published: 24 April 2022

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1

As you can see in the text--: Which passages do literary scholars quote and interpret in "Gulliver's travels"? : "quotation analysis" as an aid to understanding comprehension processes of longer and difficult texts. Frankfurt am Main: P. Lang, 1989.

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2

Loreau, Max. En quête d'un autre commencement. [Bruxelles]: Éditions Lebeer Hossmann, 1987.

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3

Boller, Paul F. They neversaid it: A book of fake quotes, misquotes, and misleading attributions. New York: Oxford University Press, 1989.

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4

Hicks, Wynford. Quite literally: Problem words and how to use them. London: Routledge, 2004.

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5

H, George John, ed. They never said it: A book of fake quotes, misquotes, and misleading attributions. New York: Oxford University Press, 1989.

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6

Drum majors for justice: 101 quotes by African American politicians. [United States]: Black History 101 Mobile Museum, 2011.

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7

Webb, Debbie. Thank you sister: A collection of poems, prayers, stories, quotes, and scriptures to say thank you. West Monroe, La: Howard Pub. Co., 2002.

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8

Goodnight and god bless: On life, literature, and a few other things, with footnotes, quotes, and other such literary diversions. New Delhi: Penguin, Viking, 2008.

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9

Payne, Hugh. Take my wife--: 532 jokes, riddles, quips, quotes, and wisecracks about love, marriage, and the battle of the sexes. New York: Black Dog & Leventhal, 2008.

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10

Being in but not quite of a world: Mentalstilistische Strukturen im Romanwerk Anita Brookners 1981-1991. Frankfurt am Main: P. Lang, 1996.

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11

A guy walks into a bar--: 501 bar jokes, stories, anecdotes, quips, quotes, riddles, and wisecracks. New York: Black Dog & Leventhal, 2005.

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12

Favaro, Alice. Después de la caída del ‘ángel’. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-416-5.

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Ángel Bonomini was born in Buenos Aires in 1929 where he lived until his death at the age of sixty-four in 1994. He worked for various newspapers and magazines as an art critic and translator, but always maintaining his literary activity. He inherited the tradition of the Argentine fantastic and was a prolific writer: his production includes essays, poems and fantastic tales.Although he lived in a period of great cultural splendor and his literary talent was recognised by authors such as Borges and Bioy Casares, he fell into an unexplained oblivion, disappearing quite early from the contemporary intellectual environment. His first poems, which date back to the 1950s, were published in Sur magazine and some of his tales were included in well-known anthologies of fantastic literature.Among his collections of poems there are: Primera enunciación (1947), Argumento del enamorado. Baladas con Ángel (1952) written with María Elena Walsh, Torres para el silencio (1982) and Poética (1994). In 1972 he achieved great success with the publication of his first collection of fantastic tales, Los novicios de Lerna, followed by the publication of other books: Libro de los casos (1975), Los lentos elefantes de Milán (1978), Cuentos de amor (1982), Historias secretas (1985) and Más allá del puente (1996), posthumously published.A particular use of the fantastic characterises his work and distinguishes him from his contemporary authors. In his tales there is a continuous contrast between metaphysics and existentialism; in this way, he makes a deep investigation of the reality and, at the same time, he tries to go beyond it.This volume aims to analyse some emblematic tales by Bonomini in which it is possible to find the main topoi of Argentine fantastic and to understand why the author’s literary work is worth studying.

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13

Crrritic!: Sighs, cries, lies, insults, outbursts, hoaxes, disasters, letters of resignation, and various other noises off in these the first and last days of literary criticism and, quite possibly, the university. Brighton, Portland: Sussex Academic Press, 2011.

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14

Cinquegrani, Alessandro, Francesca Pangallo, and Federico Rigamonti. Romance e Shoah Pratiche di narrazione sulla tragedia indicibile. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-492-9.

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Over the last 70 years, Holocaust representations increased significantly as cultural objects distributed on a large scale: fictional books, museum sites, artworks, documentaries, and films are only a few samples of those echoes the Holocaust produced in contemporary Western culture. There are some specific patterns in the way the Holocaust has been represented that, however, contrast with the survivors’ account of the same event: for example, the dichotomy between bad and good characters so essential within Holocaust-based media – especially on television and film - does not really match with the testimony’s experience. While storytelling strategies may help to involve the public by emotionally engaging with the story, the risks of altering the real meaning of the Holocaust are quite high: what we often label as a “story” is actually been an outrageous, documented mass-genocide. Furthermore, as the age gap between the present and the past generation progresses, also the collective awareness of Nazi crimes as a real fact gets compromised. This volume explores selected Holocaust narrations by contextualizing the historical, literary, and social influences those texts had in their unique points of view. Starting with some recent examples of Holocaust exploitation through social media, the first chapter explores the paradigm shift when the Holocaust became a cultural, fictional trend rather than a historical massacre. In the second chapter, the analysis examines postmodern representations of Holocaust and Nazi semantics through relevant examples taken from both American and European literature. The third chapter analyses Europe Central by William T. Vollman, as all the narratological and cultural issues considered in the previous two chapters are well outlined in this articulated novel, where the relationship between reality and its representation after the postmodernist period is largely investigated. In chapter four, an account is given of the connections and differences between the narratological category romance, as understood by Northrop Frye, and Holocaust narration features. In chapter five, those elements are used to consider the work of Italian Holocaust survivor and Jewish writer Primo Levi, as his narration around Auschwitz adopts some fictional tools and still refuses undemanding storytelling mechanisms. The sixth and final chapter examines the relevant novel Les Benviellants by Jonathan Littell, considering its Nazi genocide account through the antagonist’s perspective.

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15

Kerouac, the word and the way: Prose artist as spiritual quester. Carbondale: Southern Illinois University Press, 2000.

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16

Gerhardt, Eugene C. Quote It: Memorable Legal Quotations, Data, Epigrams, Wit and Wisdom from Legal and Literary Sources. William S. Hein & Company, 1987.

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17

C, Gerhart Eugene, ed. Quote it II: A dictionary of memorable legal quotations : data, epigrams, wit and wisdom from legal and literary sources. Buffalo, N.Y: W.S. Hein Co., 1988.

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18

Literary Quotes. Kane Miller Books / EDC Publishing, 2018.

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19

Zollner, Klaus. As You Can See in the Text: Which Passages Do Literary Scholars Quote and Interpret in "Gulliver's Travels" (Aspects of English Intellectual, Culture). Peter Lang Pub Inc, 1990.

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20

Fishing: A fine kettle of fishy tales and literary quotes. London: Robinson, 1997.

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21

Call Me Ishmael Postcards: Sentence Diagrams of Great Literary Quotes. Clarkson Potter, 2018.

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22

Johnson, Aaron P. Early Christianity and the Classical Tradition. Edited by Daniel S. Richter and William A. Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199837472.013.43.

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Although frequently treated as a separate phenomenon in the Roman Mediterranean, the literary work produced by Christian intellectuals (especially Justin Martyr, Athenagoras, Tatian, and Theophilus) in the first centuries of our era is best appreciated within the literary, philosophical, and performative contexts of the Second Sophistic. Their adoption of a stance of free speech toward those in power was formulated as an extension of philosophical modes of self-presentation. Furthermore, the Christian explorations of middle Platonist notions of the Demiurge’s possession or use of logos coalesced with their impulse to quote and further proliferate logoi as part of Christian intellectual and textual culture. Of great importance was likewise the concern of many Christian apologists to combat the Hellenocentric assumptions of their day and to begin producing world chronological investigations that sought to remove the Greek identity from its position of cultural superiority.

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23

Merry Christmas!: Inspiring quotes, poems, and stories to celebrate the season. Tulsa, Okla: Honor Books, 1999.

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24

They Never Said It: A Book of Fake Quotes, Misquotes, and Misleading Attributions. Oxford University Press, USA, 1990.

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25

Palis, Eleni. Classical Projections. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197558171.001.0001.

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Classical Projections theorizes a new term, “film quotation,” for the medium-specific repurposing, re-framing, and re-viewing of preexisting films within subsequent films. As a visual corollary to literary quotation, film quotation embeds film fragments within on-screen televisions, movie theaters, and computer screens. Quotation accesses the way the humanities make meaning; the pull-quote, epigraph, and quotation are standard for citing evidence, invoking authority, or interrogating literary and scholarly writing. Film studies has yet to seriously examine how film quotations convene interaction and create new knowledge across time. Classical Projections focuses on film quotations of classical Hollywood film—mainstream American studio production, 1915–1950—as quoted in post-classical Hollywood, roughly 1960 to present. Though film quotation has been used since early silent cinema, this strategic historical frame asks, How does post-classical cinema visualize its own “belatedness,” its awareness of coming after a “classical” or “golden age”? How do post-classical filmmakers claim or disavow classical history? How do historically disenfranchised post-classical filmmakers, whether marginalized by gender, sexuality, or race, grapple with exclusionary and stereotype-ridden canons? As a constitutive element of post-classical authorship, film quotations amass and manufacture “classical” Hollywood in retrospective, highly strategic ways. Considering both archival quotations and “created-quotations,” which are fabricated by the quoting filmmakers, uncovers the images, voices, and fragments of the “classical” canon that either never existed, were never preserved, were mired in caricature, or that classical Hollywood could not “image/imagine.” By revealing how quotational tellings of film history build and embolden exclusionary, myopic canons, Classical Projections uncovers opportunities to construct more capacious cultural memory.

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26

Rasmussen, Joel D. S. Bunyan and America. Edited by Michael Davies and W. R. Owens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199581306.013.40.

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This chapter surveys the reception and appropriation of The Pilgrim’s Progress (1678; 1684) in American religious history and literary culture, arguing that, through a series of politically, theologically, and artistically motivated realignments, American adaptations of John Bunyan’s classic shaped key features of American Protestantism and of a distinctively American literary tradition. In the eighteenth century, The Pilgrim’s Progress was evoked to reconceive ‘progress’ along lines more commercial and technological than spiritual. In the nineteenth century, modernized spin-offs became important touchstones in the hotly contested debates over theological liberalism and conservatism. In the increasingly secular twentieth century, it was often either ‘emptied of religion’ and recast as ‘road literature’, or appropriated dialectically as a means for coming to terms with the perceived absurdity of the human condition. In sum, to quote Jean Bethke Elshtain, ‘the progress of Pilgrim’s Progress tells us a good bit about the American story’.

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27

Hicks, Wynford. Quite Literally: Problem Words and How to Use Them. Taylor & Francis Group, 2012.

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28

Jr, Paul F. Boller, and John George. They Never Said It: A Book of Fake Quotes, Misquotes, and Misleading Attributions. Oxford University Press, USA, 1989.

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29

Books, Hardie Grant. Pocket Maya Angelou Wisdom: Empowering Quotes and Wise Words from a Literary Icon. Hardie Grant Books (UK), 2019.

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30

Berman, Miriam. New York in Words & Images: A Collection of 20 Vintage Postcards & Literary Quotes. Little Bookroom, 2004.

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31

1932-, Miller Paul M., ed. Treasury of love and romance: A classic collection of stories, quotes, ballads, verses, and poems. Tulsa, Okla: Honor Books, 1999.

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32

Shelley, Klein, ed. Mothers and daughters: More than 150 quotes, poems, and anecdotes. New York: Gramercy Books, 2007.

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33

Beauty and the Beast : Belle's Library: A collection of literary quotes and inspirational musings. Disney Press, 2017.

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34

Thank you, mom: A collection of poems, prayers, stories, quotes, and scriptures to say thank you. West Monroe, La: Howard Pub., 2003.

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35

Treasury Love and Romance: A Classic Collection of Stories, Quotes, Ballads, Verses, and Poems (The Treasury Series). Honor Books (OK), 1999.

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36

Cronk, Nicholas. 1. The man of theatre. Oxford University Press, 2017. http://dx.doi.org/10.1093/actrade/9780199688357.003.0002.

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Voltaire was, in all senses, a man of theatre. He wrote prolifically for the stage—his fifty plays include comedies, tragedies, even opera libretti—and it was as a writer of tragedy that he first, quite literally, ‘made’ his name. He was born François-Marie Arouet in Paris in 1694, into a prosperous bourgeois family. In 1718, he changed his name to Voltaire in an attempt to distance himself from his lawyer father. ‘The man of theatre’ describes his works and his increasing theatrical fame. It suggests that Voltaire is perhaps a master of theatrical performance, and this powerful sense of theatricality is at the heart of all his literary performances.

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37

Quotes to Inspire Great Reading Teachers: A Reflective Tool for Advancing Students' Literacy. Corwin Press, 2006.

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38

Israel, Susan E., and Cathy Collins Block. Quotes to Inspire Great Reading Teachers: A Reflective Tool for Advancing Students' Literacy. Corwin Press, 2006.

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39

Thank you for being there: A collection of poems, prayers, stories, quotes, and scriptures to say thank you. West Monroe, La: Howard Pub., 2003.

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40

1957-, Webb Debbie, ed. Thank you for your thoughtfulness: A collection of poems, prayers, stories, quotes, and scriptures to say thank you. West Monroe, Louisiana: Howard Pub., 2003.

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41

L, Bicket Tammy, and Between the Lines (Group), eds. Thank you friend: A collection of poems, prayers, stories, quotes, and scriptures to say thank you. West Monroe, LA: Howard Pub., 2003.

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42

1955-, Loveless Caron, and Between the Lines (Group), eds. Thank you for your encouragement: A collection of poems, prayers, stories, quotes, and scriptures to say thank you. West Monroe, La: Howard Pub., 2003.

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43

Chang, Sung-sheng Yvonne. Wartime Taiwan. Edited by Carlos Rojas and Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.21.

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Taking midcentury wartime Taiwan literary production as an emblematic case study, and relying heavily on the diaries of Taiwan author Lü Heruo as a revealing window into the literary field during this period, this chapter examines the relationship between the sociopolitical backdrop against which this particular literary field emerged, on one hand, and the internal structural constitution of the literary field itself, on the other. Using a specific literary phenomenon in wartime Taiwan as material for a case study, and in dialogue with some recent scholarship on the Japanese colonization of the island, this chapter further argues that the putatively aberrant structural elements characteristic of this particular literary field are in fact quite common in the cultural history of modern East Asia.

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44

Gooden, Philip. The Mammoth Book of Literary Anecdotes: Over Five Centuries of Recollections, Essays and Quotes (Mammoth Books). Carroll & Graf, 2002.

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45

Figdor, Carrie. Literalism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198809524.003.0004.

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Chapter 4 elaborates and provides an initial defense of Literalism. Updated versions of the inference to the best explanation argument for other minds provide a familiar framework for thinking about the plausibility of Literalism, as well as an additional argument for it as the default interpretation of the predicates as they are used in contemporary science. The chapter articulates what Literalism does not claim and what would falsify it. It also presents a series of initial objections to Literalism by means of a dialogue between the Literalist and an imaginary interlocutor, the Implicit Scare Quoter. The ISQ represents the broad range of intuitive objections to Literalism that follow from the initial response that the uses involve implicit scare quotes, indicating an implicit difference in meaning. The dialogue shows the strength of the Literal position in response to common objections.

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46

The Spirit of Christmas: Quotes, Poetry, Carols, & Recipes for the Holidays (Christmas Keepsakes). Peter Pauper Pr, 1993.

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47

Smith, Jos. Fugitive Allegiances. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198795155.003.0013.

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The literary journal Archipelago has offered one of the richest artistic visions of the British and Irish landscape this century, but it is one at an argumentative tilt to conventional orientations of the Isles. This chapter offers an account of the earlier work of the journal’s editor, Andrew McNeillie, before looking carefully at some of Archipelago’s regular contributors of poetry, prose, and visual art. What this reveals is, on the surface, a turn to the periphery which sees the literatures and cultures of the coastal edges speak back to the centre; but it goes on to unearth a more complex and decentred archipelagic space underneath this, one with an emphasis on artists working (quite literally at times) in the cosmopolitan spaces ‘between and among islands’ (Stratford et al.).

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48

Gross, Corina. Composition Notebook: English Grammar Police Funny Sarcasm Quotes Literary Journal/Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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49

Winokur, Jon. Advice to Writers: A Compendium of Quotes, Anecdotes, and Writerly Wisdom from a Dazzling Array of Literary Lights. Pantheon, 1999.

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50

Jon, Winokur, ed. Advice to writers: A compendium of quotes, anecdotes, and writerly wisdom from a dazzling array of literary lights. New York: Vintage Books, 2000.

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