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Journal articles on the topic 'Marilynne Fiction Literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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1

Brower Latz, A. "Creation in the Fiction of Marilynne Robinson." Literature and Theology 25, no. 3 (2011): 283–96. http://dx.doi.org/10.1093/litthe/frr017.

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2

Vogelzang, Robin. "The Likeness of Modernism in Marilynne Robinson’s Fiction." English Studies 99, no. 7 (2018): 744–54. http://dx.doi.org/10.1080/0013838x.2018.1510625.

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3

Mouw, Alex. "‘Free to act by your own lights’: Agency and Predestination in Marilynne Robinson’s Gilead Novels." Literature and Theology 35, no. 2 (2021): 198–219. http://dx.doi.org/10.1093/litthe/frab007.

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Abstract This article explores Marilynne Robinson’s attempt to reconcile the doctrine of predestination with a commitment to human agency by reading her novels Gilead, Home, Lila, and Jack alongside their intertextual companion, John Calvin. I argue that, rather than attempting to penetrate the enigma of predestination and agency through theological treatises, Robinson embodies the tension between them in fiction. Rather than defining a solution to the problem, she meaningfully charts the lived experience of it. Indeed, in the Gilead novels the experience of agency is itself agency within a un
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4

Morrison, Spencer. "Cormac McCarthy, Marilynne Robinson, and the Responsibility to Protect." American Literary History 31, no. 3 (2019): 458–81. http://dx.doi.org/10.1093/alh/ajz024.

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AbstractThis essay describes a new context for understanding the political stakes of US fiction described as postsecular—namely, the emergence of global human rights consciousness in the later twentieth century. Placing Americanist literary criticism’s recent “religious turn” in dialogue with the field of literature and human rights yields new insights for each, I argue. To demonstrate the benefits of this critical dialogue, I interpret two major novels studied by the “religious turn”—Cormac McCarthy’s The Road and Marilynne Robinson’s Gilead—in relation to the United Nations’ responsibility t
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5

Horton, Ray. "“Rituals of the Ordinary”: Marilynne Robinson's Aesthetics of Belief and Finitude." PMLA/Publications of the Modern Language Association of America 132, no. 1 (2017): 119–34. http://dx.doi.org/10.1632/pmla.2017.132.1.119.

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Marilynne Robinson, the author of Housekeeping, Gilead, Home, and Lila, has garnered attention for her sustained engagement with religious themes. Yet for all its robust participation in the theology of a distinctively Calvinist Protestantism, Robinson's fiction is invested in religious forms that are less propositional than phenomenological. It imagines belief as both a perceptual background and a system of thought that activates concentrated aesthetic attention to quotidian moments of temporal contingency and worldly ephemerality. Consequently, Robinson's work intervenes in the burgeoning cr
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6

Baker, Timothy C. "Perpetual Vanishing: Animal Lives in Contemporary Scottish Fiction." Humanities 8, no. 1 (2019): 12. http://dx.doi.org/10.3390/h8010012.

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Animals, writes Akira Mizuta Lippit, ‘exist in a state of perpetual vanishing’: they haunt human concerns, but rarely appear as themselves. This is especially notable in contemporary Scottish fiction. While other national literatures often reflect the ‘animal turn’ in contemporary theory, the number of twenty-first-century Scottish novels concerned with human–animal relations remains disproportionately small. Looking at a broad cross-section of recent and understudied novels, including Mandy Haggith’s Bear Witness (2013), Ian Stephen’s A Book of Death and Fish (2014), Andrew O’Hagan’s The Life
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7

Ghosal, Nilanjana, and Srirupa Chatterjee. "Fictive Kinship in Marilynne Robinson’s Gilead." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews, December 28, 2020, 1–4. http://dx.doi.org/10.1080/0895769x.2020.1864616.

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8

Pearce, Hanne. "News and Announcements." Deakin Review of Children's Literature 8, no. 2 (2018). http://dx.doi.org/10.20361/dr29403.

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Happy fall and early winter everyone! It seems most of the book festivals and meetings have passed for the year but there are certainly award announcements worth noting. 
 TD Canadian Children’s Literature Awards
 
 Town Is by the Sea, written by Joanne Schwartz and illustrated by Sydney Smith, won the TD Canadian Children’s Literature Award ($50,000) 
 When the Moon Comes, written by Paul Harbridge and illustrated by Matt James, won the Marilyn Baillie Picture Book Award ($20,000) 
 #NotYourPrincess: Voices of Native American Women, edited by Lisa Charleyboy and Mary
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9

Mead-Willis, Sarah. "News and Announcements." Deakin Review of Children's Literature 1, no. 2 (2011). http://dx.doi.org/10.20361/g29887.

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The end of summer and the beginning of autumn saw some notable developments in the world of children’s books, particularly in Canada. It is a great delight to announce that The Deakin Review’s namesake, Dr. Andrea Deakin, is one of the joint recipients of the 2011 Claude Aubry Award. Conferred every two years by the Canadian chapter of the International Board on Books for Young People (IBBY), the Claude Aubry Award recognizes distinguished service within the field of children’s literature. Dr. Deakin, founder of the Deakin Newsletter (which this Review succeeds), is a prolific reviewer, collec
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10

Sulz, David. "Awards, Announcements, and News." Deakin Review of Children's Literature 2, no. 1 (2012). http://dx.doi.org/10.20361/g2vs3g.

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First, we would like to follow up on news about award shortlists reported in the last issue of the Deakin Review. The UK’s Chartered Institute of Library and Information Professionals (www.cilip.org.uk ) announced the winners for the 2012 Carnegie and Kate Greenaway Children’s Book Awards. Interestingly, both the Carnegie Medal for outstanding book for children and the Kate Greenaway Medal for distinguished illustration in a book for children were awarded for the same book - A Monster Calls published by Walker Books. Patrick Ness received the Carnegie award as author and Jim Kay the Kate Green
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11

De Vos, Gail. "News and Announcements." Deakin Review of Children's Literature 5, no. 2 (2015). http://dx.doi.org/10.20361/g2qk5x.

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Autumn is not only a gloriously colourful time of the year, it is a time when a plethora of children’s book related events and awards take place. Just see what is happening in the next few months:IBBY: “Silent Books: Final Destination Lampedusa” travelling exhibit In response to the international refugee crisis that began last year, the Italian arm of the International Board on Books for Young People has launched a travelling picture-book exhibit to support the first children’s library on the island of Lampedusa, Italy where many African and Middle Eastern refugees are landing. After stops in
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12

Burns, Belinda. "Untold Tales of the Intra-Suburban Female." M/C Journal 14, no. 4 (2011). http://dx.doi.org/10.5204/mcj.398.

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Australian suburbia, historically and culturally, has been viewed as a feminised domain, associated with the domestic and family, routine and order. Where “the city is coded as a masculine and disorderly space… suburbia, as a realm of domesticity and the family, is coded as a feminine and disciplinary space” (Wilson 46). This article argues how the treatment of suburbia in fiction as “feminine” has impacted not only on the representation and development of the character of the “suburban female”, but also on the shape and form of her narrative journeys. Suburbia’s subordination as domestic and
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13

Kaur, Jasleen. "Allure of the Abroad: Tiffany & Co., Its Cultural Influence, and Consumers." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1153.

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Introduction Tiffany and Co. is an American luxury jewellery and specialty retailer with its headquarters in New York City. Each piece of jewellery, symbolically packaged in a blue box and tied with a white bow, encapsulates the brand’s unique diamond pieces, symbolic origin story, branded historical contributions and representations in culture. Cultural brands are those that live and thrive in the minds of consumers (Holt). Their brand promise inspires loyalty and trust. These brands offer experiences, products, and personalities and spark emotional connotations within consumers (Arvidsson).
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14

Ettler, Justine. "When I Met Kathy Acker." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1483.

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I wake up early, questions buzzing through my mind. While I sip my morning cup of tea and read The Guardian online, the writer, restless because I’m ignoring her, walks around firing questions.“Expecting the patriarchy to want to share its enormous wealth and power with women is extremely naïve.”I nod. Outside the window pieces of sky are framed by trees, fluffy white clouds alternate with bright patches of blue. The sweet, heady first wafts of lavender and citrus drift in through the open window. Spring has come to Hvar. Time to get to work.The more I understand about narcissism, the more I u
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15

Mallan, Kerry Margaret, and Annette Patterson. "Present and Active: Digital Publishing in a Post-print Age." M/C Journal 11, no. 4 (2008). http://dx.doi.org/10.5204/mcj.40.

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At one point in Victor Hugo’s novel, The Hunchback of Notre Dame, the archdeacon, Claude Frollo, looked up from a book on his table to the edifice of the gothic cathedral, visible from his canon’s cell in the cloister of Notre Dame: “Alas!” he said, “this will kill that” (146). Frollo’s lament, that the book would destroy the edifice, captures the medieval cleric’s anxiety about the way in which Gutenberg’s print technology would become the new universal means for recording and communicating humanity’s ideas and artistic expression, replacing the grand monuments of architecture, human engineer
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16

Usmar, Patrick. "Born To Die: Lana Del Rey, Beauty Queen or Gothic Princess?" M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.856.

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Closer examination of contemporary art forms including music videos in addition to the Gothic’s literature legacy is essential, “as it is virtually impossible to ignore the relationship the Gothic holds to popular culture” (Piatti-Farnell ii). This article critically examines how Gothic themes and modes are used in the music videos of Lana Del Rey; particularly the “ways in which Gothic is dispersed through contemporary non-literary media” (Spooner and McEvoy 2). This work follows the argument laid down by Edwards and Monnet who describe Gothic’s assimilation into popular culture —Pop Gothic—
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17

Coull, Kim. "Secret Fatalities and Liminalities: Translating the Pre-Verbal Trauma and Cellular Memory of Late Discovery Adoptee Illegitimacy." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.892.

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I was born illegitimate. Born on an existential precipice. My unwed mother was 36 years old when she relinquished me. I was the fourth baby she was required to give away. After I emerged blood stained and blue tinged – abject, liminal – not only did the nurses refuse me my mother’s touch, I also lost the sound of her voice. Her smell. Her heart beat. Her taste. Her gaze. The silence was multi-sensory. When they told her I was dead, I also lost, within her memory and imagination, my life. I was adopted soon after but not told for over four decades. It was too shameful for even me to know. Impri
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18

Bellanta, Melissa. "Voting for Pleasure, Or a View from a Victorian Theatre Gallery." M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.22.

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Imagine this historical scene, if you will. It is 1892, and you are up in the gallery at Her Majesty’s Theatre in Sydney, taking in an English burlesque. The people around you have just found out that Alice Leamar will not be performing her famed turn in Ta-ra-ra-boom-de-ay tonight, a high-kicking Can-Canesque number, very much the dance du jour. Your fellow audience members are none too pleased about this – they are shouting, and stamping the heels of their boots so loudly the whole theatre resounds with the noise. Most people in the expensive seats below look up in the direction of the galle
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19

Bellanta, Melissa. "Voting for Pleasure, Or a View from a Victorian Theatre Gallery." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2715.

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 Imagine this historical scene, if you will. It is 1892, and you are up in the gallery at Her Majesty’s Theatre in Sydney, taking in an English burlesque. The people around you have just found out that Alice Leamar will not be performing her famed turn in Ta-ra-ra-boom-de-ay tonight, a high-kicking Can-Canesque number, very much the dance du jour. Your fellow audience members are none too pleased about this – they are shouting, and stamping the heels of their boots so loudly the whole theatre resounds with the noise. Most people in the expensive seats below look up in the d
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