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Journal articles on the topic 'The Story of a Bad Boy'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Livingston, Carolyn. "Book Review: Bad Boy of Gospel Music: The Calvin Newton Story." Journal of Historical Research in Music Education 26, no. 1 (October 2004): 72–75. http://dx.doi.org/10.1177/153660060402600109.

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2

Farmer, J. Forbes, Sal Ali, and Jean Dawson. "Pocket-Picking to Armed Robbery to Prison: The Life and Criminological Analysis of Good Boy, Bad Boy and Wiser Man, Sal Ali." Journal of Sociological Research 12, no. 2 (March 23, 2021): 1. http://dx.doi.org/10.5296/jsr.v12i2.18161.

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This case study examines the self-reported life story of a prisoner who has spent much of his life in juvenile detention and adult prison. His criminal history began with pocket-picking, then breaking and entry, and then advanced to armed robbery. Social learning theory, self-control theory and rational choice theory are discussed and the inmate’s reflections on them are offered in his words with illustrations from his experience.

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3

Safitri, Meidiana, Tanto Harthoko, and Andri Nur Patrio. "Produksi Film Animasi 2D Pool." Journal of Animation and Games Studies 6, no. 2 (October 15, 2020): 141–50. http://dx.doi.org/10.24821/jags.v6i2.4405.

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The story of a boy named Boy who is trying to overcome his trauma to a swimming pool. Trauma is the result of a terrible experience that has occurred during life. With a long recovery time, a trauma sufferer always imagines bad events and some traumatic symptoms that is difficult to overcome. Therefore, the character needs the support of the closest people to recover slowly. The creation of 2D animated film "Pool" using direct frame by frame technique in animation creation software. All manufacturing processes from production to post-production use digital media and produce an animated film with duration of 2 minutes.

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4

Nesdale, Drew, and Kristi Brown. "Children’s attitudes towards an atypical member of an ethnic in-group." International Journal of Behavioral Development 28, no. 4 (July 2004): 328–35. http://dx.doi.org/10.1080/01650250444000018.

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Given that children have a strong bias towards their in-group, this study examined how children respond to a group member who is revealed to have negative qualities. One hundred and twenty Anglo-Australian children who were 6, 9, or 12 years of age heard a story about an (in-group) Anglo-Australian boy and a (out-group) Chinese boy who were good friends or bad enemies. In addition, the story characters displayed both positive and negative traits, and both enacted a positive and a negative behaviour. The results revealed that, as they increased in age, the children remembered more of the in-group character’s negative versus positive traits, saw themselves as increasingly dissimilar to him, and they liked him less, whereas they remembered more of the out-group character’s positive versus negative traits, saw themselves as increasingly similar to him, and liked him more. Contrary to expectations, the story characters’ relationship did not systematically impact on the children’s responses. The results are discussed in terms of the extent of support provided for social identity development theory.

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5

Pasztory, Esther. "WONDERFUL JOURNEY." Ancient Mesoamerica 30, no. 1 (2019): 3–12. http://dx.doi.org/10.1017/s0956536118000482.

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When I was a child, my favorite book was Wonderful Journey by Selma Lagerlof in Hungarian translation. The story is about a boy who is turned into a Tom Thumb for bad behavior. He joins a flock of wild geese and travels with them on the back of a goose on a series of adventures through towns and forests, even under the sea to an “Atlantis.” He speaks the language of the animals and learns good behavior. As a reward, after a year, he is transformed back into a regular boy and goes home. He looks up wonderingly at the flock of geese going on another adventure but can no longer understand the language of animals. He is sad. At this point, I always cried. (I did not know that the story, written in 1907, took place in Sweden and was a geography lesson of Sweden, specifically. It is available now in English as the Wonderful Adventures of Nils. Selma Lagerlof received the Nobel Prize.)

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6

Donovan, Ellen Butler. "Reading for Profit and Pleasure: Little Women and The Story of a Bad Boy." Lion and the Unicorn 18, no. 2 (1994): 143–53. http://dx.doi.org/10.1353/uni.0.0179.

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7

Cohoon, Lorinda B. "Necessary Badness: Reconstructing Post-Bellum Boyhood Citizenships in Our Young Folks and The Story Of A Bad Boy." Children's Literature Association Quarterly 29, no. 1-2 (2004): 5–31. http://dx.doi.org/10.1353/chq.0.0038.

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8

Ali Fauzi. "A STUDY OF MISUNDERSTANDINGS AS A MEANS OF FINDING LOVE THEME IN WILLIAM SHAKESPEARE’S TWELFTH NIGHT." Tadris : Jurnal Penelitian dan Pemikiran Pendidikan Islam 13, no. 1 (December 2, 2019): 18–38. http://dx.doi.org/10.51675/jt.v13i1.53.

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Misunderstanding can happen to everyone, either male or female, young or old. It happens to human beings in daily life, as a reflection of their genuine characteristics, that is fault and forgetfulness. The existence of them will not only set up misunderstandings but may bring about bad and good quality as well. As social beings, ones must make contact with others in their community. This kind of contact is the primary cause of the existence of misunderstanding. Literature, as the expression of the real life, of course, covers the whole human activities including misunderstanding, its cause and its effect. Shakespeare’s Twelfth Night, is a comic story meant to amuse the readers or audiences through misunderstandings and comical circumstances leading to the appearance of some mistakes. Misunderstandings are mostly caused by the disguise of Viola as a boy. Because of the mystery, Antonio accuses her of being ungrateful and claims her to return the purse he gave before. Sir Andrew and Sir Toby attack her and Sebastian by mistake. Malvolio thinks her a gentleman when she is delivering messages and love letters to Olivia. The peak of all is that Olivia falls in love with Viola. She is sure that Viola is a real good-looking boy. She, Olivia, marries Sebastian by mistake. Meanwhile, Orsino who realizes that Olivia has got married with Sebastian, marries Viola in the end. The four main characters become two pairs of newly married couples and live happily. Sebastian lives happily with Olivia and Orsino lives peacefully with Viola. Misunderstandings have close relationship with the theme, the main idea. It can be a means of finding theme of the story by analyzing every happening of the play. So, there is a relationship of cause and effect between misunderstanding and theme, as one unity supporting one another. Misunderstandings causing the conflicts among characters become the way to find love theme of the story through analyzing all subject matters. It means misunderstandings can bring about love and marriage between them, primarily the main four characters and they lead to love theme of the story.

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9

MESSENT, PETER. "Discipline and Punishment in The Adventures of Tom Sawyer." Journal of American Studies 32, no. 2 (August 1998): 219–35. http://dx.doi.org/10.1017/s0021875898005854.

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Beltings and beatings play a prominent role in Twain's boy fictions. In “The Story of the Bad Little Boy” (1865), Jim is “always spanked…to sleep” by his mother and, instead of a good-night kiss, “she boxed his ears when she was ready to leave him.” While in Adventures of Huckleberry Finn (1884–85), when Huck stays with pap in the cabin in the woods, “by-and-by pap got too handy with his hick'ry, and I couldn't stand it. I was all over welts.” It is the prevalence of such punishments, and attempted punishments, in Tom Sawyer's young life that provides the starting-point for my present analysis of childhood discipline and its fictional representation in The Adventures of Tom Sawyer (1876). For to focus on the different types of punishment Tom undergoes, the supervisory controls which are placed over him, and the way he responds to them, is to suggest a reading of Twain's novel as illustrative both of the changing forms of domestic discipline being introduced in America in the 1830s and 40s, and the spaces in which that discipline functions. In pursuing this line of inquiry, I build on previous work on the development of modern American social regulation in the antebellum period, and particularly that by G. M. Goshgarian and Richard H. Brodhead.

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10

Wardani, Kemala Pintaka. "“CINDELARAS” KIDS ILLUSTRATION AS A MORAL LEARNING MEDIA FOR CHILDREN." Arty: Jurnal Seni Rupa 9, no. 2 (August 18, 2020): 169–80. http://dx.doi.org/10.15294/arty.v9i2.40372.

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Moral learning can be taught through stories, which act as orientations and role models to stimulate understanding which then becomes the habituation and personal character of the child. In this study project moral learning is presented in stories in the form of comic books, with Cindelaras's story as example. The comic book creation process goes through several stages of the creative process namely the pre-production process, the production process and the post-production process. The main work produced was a dummy form from a comic book titled "Cindelaras: A Boy with Rooster" and several merchandise works as supporters such as bookmarks, key chains, art prints and stickers. All the sequences pages of this comic are visual illustrations that tell the story of Cindelaras' journey in fighting for justice. In this comic also illustrated how Cindelaras behaves to parents, people who need even those who are evil to him. This comic has the main message that every good or bad deed will return to the culprit. This work is analyzed from the technical aspects, aesthetic aspects and illustrative aspects. Technically, the entire work is done in digital format and techniques with Adobe Photoshop CS5 applications, while viewed from an aesthetic aspect, it highlights visual elements that are depicted such as colors, lines, drawing styles, and so on. The illustrative aspect explains how illustrations play an important role in communicating stories in this comic book. Through this comic book illustration creation it is hoped that it can add to children's reading recommendations as a medium of moral learning as well as a means of promotion to introduce native Indonesian folklore.

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11

Price, Emmett G. "Allan Moore, editor. The Cambridge Companion to Blues and Gospel Music. Cambridge: Cambridge University Press, 2002. Russ Cheatham. Bad Boy of Gospel Music: The Calvin Newton Story. Jackson: University Press of Mississippi, 2003." Journal of Popular Music Studies 17, no. 2 (August 2005): 205–10. http://dx.doi.org/10.1111/j.1524-2226.2005.00042b.x.

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12

Isaacson, Lanae H., and Knut Faldbakken. "Bad Boy." World Literature Today 63, no. 4 (1989): 692. http://dx.doi.org/10.2307/40145650.

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13

Ferens, Dominika. "Narrating Chaos: Theresa Hak Kyung Cha’s "DICTEE" and Korean American Fragmentary Writings." Anglica Wratislaviensia 57 (October 4, 2019): 25–35. http://dx.doi.org/10.19195/0301-7966.57.2.

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In The Wounded Storyteller: Body, Illness, and Ethics, sociologist Arthur Frank uses narratology to typologize the stories people tell about illness. Next to teleological stories of survival, which “reassure the listener that however bad things look, a happy ending is possible”, Frank discusses “the chaos narrative” in which “events are told as the storyteller experiences life: without sequence or discernible causality” 97. While the storytellers discussed by Frank mostly suffer from physical ailments and traumas, I would argue that the chaotic mode of telling also characterizes texts that explore other kinds of traumas, including those related to displacement and shaming experienced by several generations of Koreans and Americans of Korean descent. Drawing on affect studies, I analyze Theresa Hak Kyung Cha’s DICTEE 1982 alongside two essays, by Grace M. Cho and Hosu Kim published in The Affective Turn: Theorizing the Social 2007, all of which use the collage form to challenge the expectation that “in life as in story, one event [leads] to another” Frank 97. The speech act is foregrounded in all three texts; it is de-naturalized, deformed, shown as a recitation of prescribed language, and repeatedly interrupted. Nonetheless, as Frank suggests, “the physical act becomes the ethical act” because “to tell one’s life is to assume responsibility for that life.” It also allows others to “begin to speak through that story” xx–xxi.

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14

Campbell, Rebecca. "Bad Boy Dream." STEAM 2, no. 1 (September 4, 2015): n/a. http://dx.doi.org/10.5642/steam.20150201.4.

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15

DOHERTY, BERLIE. "The bad boy." Critical Quarterly 30, no. 2 (June 1988): 52–57. http://dx.doi.org/10.1111/j.1467-8705.1988.tb00302.x.

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16

Byrne, Peter. "Bad Boy of Physics." Scientific American 22, no. 2s (May 21, 2013): 108–11. http://dx.doi.org/10.1038/scientificamericanphysics0513-108.

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17

Byrne, Peter. "Bad Boy of Physics." Scientific American 305, no. 1 (June 14, 2011): 80–83. http://dx.doi.org/10.1038/scientificamerican0711-80.

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18

Kilpatrick, David. "Bad Boy Nietzsche (review)." Theatre Journal 53, no. 1 (2001): 154–55. http://dx.doi.org/10.1353/tj.2001.0012.

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19

Solander, Tove. "Fat Feminism: Reading Shelley Jackson's ‘Fat’ through Elizabeth Wilson's Gut Feminism." Somatechnics 4, no. 1 (March 2014): 168–84. http://dx.doi.org/10.3366/soma.2014.0118.

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In this article, I treat a literary text as a form of somatechnics making an intervention in fat embodiment. I read contemporary American author Shelley Jackson's short story ‘Fat’ from The Melancholy of Anatomy through what Elizabeth Wilson terms ‘gut feminism’, a feminism accounting for the dynamism of the biological body and acknowledging ‘organic thought’ as an alternative to the mind/body split. Wilson's ‘gut feminism’ is related to theories drawing on Deleuze's concept the ‘Body without Organs’ such as hypertheorist N. Katherine Hayles’ argument for the ‘Text as Assemblage’. I show how the seemingly surreal narrative of ‘Fat’ provides crucial insights about fat, understood as an assemblage of images, affects and matter and as a liminal substance questioning the integrity of the subject. Fat is associated with the feminine in a reclamation of the early modern rhetorical term ‘dilation’, which figures the swelling text as a fat, fertile woman with voracious orifices. I describe how Jackson's ‘aesthetics of fat’ works through dilation, disgust and ‘bad taste’ to draw the reader into an experience of fat embodiment. I characterise fat as a ‘sticky sign’ in Sara Ahmed's sense, one that will not stay confined to the page but sticks to the reader and elicit gut reactions. In conclusion, I argue for a non-derogatory model of reading as incorporation

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20

Tanenbaum, Leora, and Kathy Dobie. "Bad Rep Story." Women's Review of Books 20, no. 9 (June 2003): 6. http://dx.doi.org/10.2307/4024152.

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21

Parascandola. "The Boy from Bad Axe." Pharmacy in History 61, no. 1-2 (2019): 36. http://dx.doi.org/10.26506/pharmhist.61.1-2.0036.

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22

Theopold, Ulrich. "A bad boy comes good." Nature 461, no. 7263 (September 2009): 486–87. http://dx.doi.org/10.1038/461486a.

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23

Jessop, E. G. "Anecdote bad, story good." Journal of Public Health 26, no. 3 (September 1, 2004): 219. http://dx.doi.org/10.1093/pubmed/fdh156.

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24

McPhail, Gary. "Teaching the "Bad Boy" to Write." LEARNing Landscapes 3, no. 1 (March 1, 2009): 89–104. http://dx.doi.org/10.36510/learnland.v3i1.319.

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In an attempt to address the gendered achievement gap in writing that exists both nationally and internationally, Gary McPhail conducted a year-long teacher research study focused on the gendered literacy interests of his first grade students and how they responded to a writing curriculum he created that included genres intended to be of interest to both boys and girls. This paper focuses on the experiences of one self-declared "bad boy" in Gary’s class.

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25

Wert, Hal Elliott, and Wolfgang W. E. Samuel. "German Boy: A Refugee's Story." Journal of Military History 65, no. 4 (October 2001): 1154. http://dx.doi.org/10.2307/2677696.

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26

Campbell, Rebecca. "Bad Boy Dream - behind the cover art." STEAM 2, no. 1 (September 4, 2015): 1–2. http://dx.doi.org/10.5642/steam.20150201.1.

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27

Passaro, Edward. "Bad blood: Perspective of a country boy." American Journal of Surgery 153, no. 2 (February 1987): 214. http://dx.doi.org/10.1016/0002-9610(87)90817-8.

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28

Cagney, Hannah. "A story of a golden boy." Lancet Diabetes & Endocrinology 1, no. 4 (December 2013): e16. http://dx.doi.org/10.1016/s2213-8587(13)70121-9.

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29

Rowe, Amy. "A LOST BOY TELLS SUDAN'S STORY." Review of Faith & International Affairs 5, no. 1 (March 2007): 59–61. http://dx.doi.org/10.1080/15570274.2007.9523281.

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30

Desai, Boman. "The Boy Brahms." 19th-Century Music 27, no. 2 (2003): 132–36. http://dx.doi.org/10.1525/ncm.2003.27.2.132.

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During the late twentieth century, the veracity of a particular aspect of Johannes Brahms's boyhood came under challenge. Had he played the piano in Hamburg's dockside bars as many of his biographers had recorded, or had he not? The two sides of the story were debated in the spring 2001 issue of 19th-Century Music. Jan Swafford, Brahms's definitive biographer in English, provided the case for the status quo, citing all the known instances of times when Brahms himself had mentioned the story to friends and biographers. Styra Avins, a translator of many of Brahms's heretofore untranslated letters into English, provided evidence to the contrary by saying all the friends and biographers were mistaken. Swafford's inventory of sources is complete, but there remained more to be said. In "The Boy Brahms" I have attempted to show how Avins's evidence is strictly circumstantial and speculative. At this remove from the incidents in question it can be nothing more. I have attempted to refute the conclusions she has drawn from the young Brahms's handwriting, the testimony of neighbors, and the laws governing attendance in the bars, among other things. I have also attempted to show inconsistencies in Avins's arguments that throw into question her thesis and support the veracity of the original story.

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31

Scalea, Joseph R., Wen Xie, Georgios Vrakas, and Stephen H. Gray. "Good outcomes with a bad story." American Journal of Surgery 221, no. 4 (April 2021): 675–76. http://dx.doi.org/10.1016/j.amjsurg.2021.01.006.

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32

Sellami, Meryem. "Le Bad-boy n’a pas peur d’avoir mal." Revue des sciences sociales, no. 53 (September 22, 2015): 38–44. http://dx.doi.org/10.4000/revss.2769.

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33

Slezak, Michael. "Australia cementing status as international climate bad-boy." New Scientist 220, no. 2944 (November 2013): 5. http://dx.doi.org/10.1016/s0262-4079(13)62710-4.

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34

Yüksel, Selçuk, Deniz Gül Zorlu, and Bayram Özhan. "Bad breath and painful swallowing in a boy." Archives of disease in childhood - Education & practice edition 104, no. 6 (July 31, 2018): 304–5. http://dx.doi.org/10.1136/archdischild-2018-315509.

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35

Zelen, Joyce. "The Self-Promotion of a Libertine Bad Boy." Rijksmuseum Bulletin 66, no. 4 (December 15, 2018): 362–85. http://dx.doi.org/10.52476/trb.9764.

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The Rijksmuseum in Amsterdam owns one of the most curious portraits ever made in the seventeenth century – the likeness of the Dutch classical scholar and notorious erotomaniac Hadriaan Beverland (1650-1716), who was banished from the Dutch Republic in 1679 because of his scandalous publications. In the portrait – a brunaille – the libertine rake sits at a table with a prostitute; a provocative scene. Why did this young humanist promote such a confrontational image of himself? In this article the author analyses the portrait and explores Beverland’s motives for his remarkable manner of self-promotion, going on to argue that it was the starting point for a calculated campaign of portraits. Over the years Beverland commissioned at least four more portraits of himself, including one in which he is shown drawing the naked back of a statue of Venus. Each of his portraits was conceived with a view to giving his changeable reputation a push in the right direction. They attest to a remarkable and extraordinarily self-assured expression of identity seldom encountered in seventeenth-century portraiture.

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36

Collins, Richard. "Bad News and Bad Faith: The Story of a Political Controversy." Journal of Communication 36, no. 4 (December 1, 1986): 131–38. http://dx.doi.org/10.1111/j.1460-2466.1986.tb01455.x.

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37

Korobko, M. I. "THE PROBLEM OF MODERN TV-HERO'S MORAL QUALITIES." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 50–54. http://dx.doi.org/10.17721/ucs.2020.1(6).11.

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The article is an effort to analyze the image of the modern television hero. Who is he? A hero or a villain? The analysis of modern protagonists is given through ethical and film theories. The problem of clarity of moral boundaries is very important in the light of the trend, which popularizes villains as normal people in modern storytelling, moral boundaries are blurring because of attraction of such heroes. According to Chapman scholars, the functions of modern "bad boy" as an architype are: a) bad boys have the strength to give us freedom at the personal and societal levels; b) a bad boy with a critical view of society can emancipate us on both personal and societal levels; c) bad boy's criticism can lead him to become isolated or withdrawn on a personal level or become a leader of resistance and rebellion on a societal level; d) the comedic bad boy parallels the evils of society and can shed a critical light on what is happening, which in turn can express the need for resistance as well as encourage the individual to retreat from social functions and live in an isolated manner. The complexity of people implies the bad boy limitless in determination because the bad boy appears in many shapes. Many modern heroes in movies and tv-shows are morally ambivalent, they combine features of Hero and Trickster archetypes and become bad boys and girls who question the very essence of our world order. Today there are so many characters like this in mass-culture (tv-series, movies and cartoons) because we live in time of the global world crisis and our culture reflects this, our heroes demonstrate us our problems and try to find a solution. And sometimes the classic understanding of morality can't help us and we are trying to solve the problems through immoral actions. Villains are attractive through their rebellion. Today we can't find clarity of moral boundaries in tv-shows. But it's very important. The influence of series and movies on the young generation is enormous. Cinematography in all forms (cinema and television) is very powerful ethical instrument. And it is not just the mirror of human morality but it has a teaching function too.

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38

Alvaro, Domenico. "Progranulin and cholangiocarcinoma: another bad boy on the block!" Gut 61, no. 2 (November 7, 2011): 170–71. http://dx.doi.org/10.1136/gutjnl-2011-301518.

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39

Handy, Jonathan. "Lactate—The bad boy of metabolism, or simply misunderstood?" Current Anaesthesia & Critical Care 17, no. 1-2 (January 2006): 71–76. http://dx.doi.org/10.1016/j.cacc.2006.05.006.

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40

Taylor, John, and Frederic Tuten. "Van Gogh's Bad Café: A Love Story." Antioch Review 55, no. 4 (1997): 498. http://dx.doi.org/10.2307/4613593.

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41

El-Shagi, Makram, and Gregor Von Schweinitz. "Qual Var Revisited: Good Forecast, Bad Story." Journal of Applied Economics 19, no. 2 (November 2016): 293–321. http://dx.doi.org/10.1016/s1514-0326(16)30012-5.

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42

Bodley, Thomas. "Annals Story Slam - Good and Bad Times." Annals of Internal Medicine 167, no. 6 (September 19, 2017): SS1. http://dx.doi.org/10.7326/w17-0062.

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43

McClanahan, Annie. "Bad Credit." Representations 126, no. 1 (2014): 31–57. http://dx.doi.org/10.1525/rep.2014.126.1.31.

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This essay reads twenty-first-century credit scoring against eighteenth- and nineteenth-century forms of credit evaluation. While the latter famously draws its qualitative model of credibility from the novel, and the former predictably describes itself as quantitative and impersonal, in fact the credit score, the social person, and literary character remain significantly entangled. Through a reading of Gary Shteyngart’s Super Sad True Love Story, this essay shows what kinds of persons the practice of credit rating produces.

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44

Kahn, Brian B. "The Boy, A Holocaust Story (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 31, no. 2 (2013): 184–87. http://dx.doi.org/10.1353/sho.2013.0028.

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45

Solomon, Daniel. "A Lost Boy in Louisville: One Refugee’s Story." Dissent 63, no. 1 (2016): 117–26. http://dx.doi.org/10.1353/dss.2016.0006.

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46

Ch'oe, Yong-ho. "Remembering Korea 1950: A Boy Soldier's Story (review)." Korean Studies 26, no. 1 (2002): 153–55. http://dx.doi.org/10.1353/ks.2002.0002.

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47

Lefebvre, Benjamin. "From Bad Boy to Dead Boy: Homophobia, Adolescent Problem Fiction, and Male Bodies that Matter." Children's Literature Association Quarterly 30, no. 3 (2005): 288–313. http://dx.doi.org/10.1353/chq.2006.0008.

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48

Gilbertsen, Neil. "A Fish Story." Public Voices 1, no. 1 (April 11, 2017): 75. http://dx.doi.org/10.22140/pv.455.

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This story underscores the conflicts between environment and economics, between necessary habitats and bad habits. The author dramatizes the myopia of public policy which ignores a complex chain of problems, instead absurdly blaming the end users-fishennen-- for overfishing a population actually decimated by dams and silting of spawning areas.

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49

Cass, Philip. "REVIEW: More than just a naughty boy." Pacific Journalism Review : Te Koakoa 23, no. 2 (November 30, 2017): 225. http://dx.doi.org/10.24135/pjr.v23i2.340.

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Kim Dotcom: Caught in the Web, directed by Annie Goldson. Produced by Alexander Behse. Monsoon Pictures. Documentary. 2017. 107min.THE question about Kim Dotcom that nobody seems able to resolve is whether he’s just been a bit naughty and the authorities are over-reacting, or whether he has in fact been very bad.

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50

West, Joel. "The ontology of Yentl: Umberto Eco, semiosis, mimesis, closets and existence, and how to read “Yentl the Yeshiva Boy”." Semiotica 2019, no. 226 (January 8, 2019): 209–24. http://dx.doi.org/10.1515/sem-2017-0122.

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AbstractIsaac Bashevis Singer’s short story “Yentl the Yeshiva Boy” (Singer, I. B. 1962. Yentl the yeshiva boy. Commentary Magazine. https://www.commentarymagazine.com/articles/yentl-the-yeshiva-boy-a-story/ (accessed 25 March 2017).) needs to be read in the light of traditional Jewish sources. The question is, how does it stand up to modern hypotheses of gender construction? Yentl was originally published in Yiddish and was translated to English in the latter half of the twentieth century. We will see that the context within which to understand the story properly is encoded in the story itself, as Umberto Eco explains in his The Role of the Reader and The Limits of Interpretation. We will see how the concept of a person’s gender, as a construction by social norms, is viewed within mainstream Jewish thought. Some textual issues and contemporary ideas of gender are applied to the story. Finally, the feature film Yentl (Streisand, B. (dir.). 1983. Yentl [film]. Los Angeles: United Artists Films.) is also compared the short story on which it was based as an example of translation and re-interpretation.

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