Relevant bibliographies by topics / Squanto, fiction

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Academic literature on the topic 'Squanto, fiction'

Author: Grafiati
Published: 13 December 2022
Last updated: 31 July 2025

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Journal articles on the topic "Squanto, fiction"

1

Mulcahy, F. David, and Melissa Sherman. "A Symbolic View of Cigarette Holders." Issues in Social Science 3, no. 2 (2015): 1. http://dx.doi.org/10.5296/iss.v3i2.8392.

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<p>The cigarette holder became a fashion accessory for women in the early 1920s and remained popular until the 1960s. <em>The New York Times</em> was used as a data base to evaluate its symbolism and function during this period. It is argued that the artifact became a symbol of assertiveness for many women both in real life and fiction including the ballet mistress Bronislava Nijinska, the mythical and fictionally portrayed Dragon Lady—who was a glamorous but larcenous female war-lord, the fictional Satin Doll, an astute potential lover who would not let herself be manipulate
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2

Roberts, Trask. "Deconfining Translation in Samuel Beckett's Le Dépeupleur and The Lost Ones." Journal of Modern Literature 46, no. 3 (2023): 130–46. http://dx.doi.org/10.2979/jmodelite.46.3.08.

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Abstract: Le Dépeupleur (1970), Samuel Beckett's short work of prose translated by the author himself as The Lost Ones (1972), crafts a scenario in which 200 bodies are confined to a squat cylinder with scant more than a square meter each and only the rumor of an exit. The confinement Beckett imposes on these dehumanized bodies goes beyond the spatial, and also manifests itself on temporal, linguistic, and narrative planes. Beckett's two versions of the text (English and French) engage each other in ways that both reinforce the confined nature of this fictional universe as well as generate pos
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3

Roberts, Trask. "Deconfining Translation in Samuel Beckett's Le Dépeupleur and The Lost Ones." Journal of Modern Literature 46, no. 3 (2023): 130–46. http://dx.doi.org/10.2979/jml.2023.a901935.

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Abstract: Le Dépeupleur (1970), Samuel Beckett's short work of prose translated by the author himself as The Lost Ones (1972), crafts a scenario in which 200 bodies are confined to a squat cylinder with scant more than a square meter each and only the rumor of an exit. The confinement Beckett imposes on these dehumanized bodies goes beyond the spatial, and also manifests itself on temporal, linguistic, and narrative planes. Beckett's two versions of the text (English and French) engage each other in ways that both reinforce the confined nature of this fictional universe as well as generate pos
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4

Evans, Mihail. "HOUSMAN'S SPECTRAL SHROPSHIRE." Victorian Literature and Culture 43, no. 4 (2015): 857–73. http://dx.doi.org/10.1017/s1060150315000297.

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The fictional setting of the “Shropshire” of A. E. Housman's A Shropshire Lad (1894) is well known. He himself admitted to hardly having visited the county before the publication of his cycle of poems and the topography of the county in verse and actuality are often two different things. For instance, Hughley, whose steeple in the poems is a “far-known sign,” as Housman's brother Laurence discovered on a post-publication visit, is located in a valley and the remarkable spire turns out to be squat rather than soaring (Burnett, Letters 1: 90). The particular form of unreality that will be the su
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5

Carty, Breda. "Interpreters in Our Midst." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.257.

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When deaf people work in professional environments and participate in public events, we are often accompanied by sign language interpreters. This usually means wonderfully enhanced access – we can learn, participate and network in ways which are difficult if not impossible on our own. But while we often try to insist that our interpreters are ‘invisible’, that we are the ones learning, engaging in dialogue and consuming services, we are regularly bemused by the public fascination and focus on our interpreters – sometimes at the expense of their attention to us. When interpreters are in our mid
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6

Ford, Jessica. "Rebooting Roseanne: Feminist Voice across Decades." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1472.

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In recent years, the US television landscape has been flooded with reboots, remakes, and revivals of “classic” nineties television series, such as Full/er House (1987-1995, 2016-present), Will & Grace (1998-2006, 2017-present), Roseanne (1988-1977, 2018), and Charmed (1998-2006, 2018-present). The term “reboot” is often used as a catchall for different kinds of revivals and remakes. “Remakes” are derivations or reimaginings of known properties with new characters, cast, and stories (Loock; Lavigne). “Revivals” bring back an existing property in the form of a continuation with the same cast
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Books on the topic "Squanto, fiction"

1

Bulla, Clyde Robert. Squanto, friend of the white men. Scholastic, 1991.

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2

Fontes, Ron. Squanto, A Warrior's Tale: A novel. Troll Associates, 1994.

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3

Coville, Bruce. The wrath of Squat. Minstrel, 1994.

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4

Bravo, Émile. Goldilocks and the seven squat bears. Yen Press, 2010.

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5

Coville, Bruce. Space Brat 3: The wrath of Squat. Pocket Books, 1994.

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6

Fontes, Ron, and Jean Little. Squanto: A Warrior's Tale. Troll Communications, 1994.

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7

Bulla, Clyde Robert. Squanto: Friend of Pilgrims. Scholastic, 1986.

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8

Bulla, Clyde Robert. Squanto: Friend of Pilgrims. Scholastic, 1989.

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9

Mother of Divine Grace School. Squanto: Friend of the Pilgrims. Mother of Divine Grace School, 2020.

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10

Bulla, Clyde Robert. Squanto: Friend of the Pilgrims. Perfection Learning Prebound, 1991.

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Book chapters on the topic "Squanto, fiction"

1

Kiddey, Rachael. "Welcome to the Croft!" In Homeless Heritage. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746867.003.0006.

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It was one of those days, typical of England, when you have to work very hard to remember that above the thick, white cloud the sky is always blue. I was cycling up Cheltenham Road, feeling increasingly angry, when I saw a giant advertising hoarding had been erected around a disused car showroom that had, until recently, been a residential squat. It read: ‘New Development, a mix of 1, 2 and 3 bedroom flats. Prices start at just £199,000’. The advert included pictures of smart-looking kitchens, shiny surfaces, and anonymous faces grinning inanely at their fictional bathtubs. I started to cycle
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