Bibliografias temáticas / Jordan – Fiction

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Literatura científica selecionada sobre o tema "Jordan – Fiction"

Autor: Grafiati
Publicado: 26 de julho de 2024

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Artigos de revistas sobre o assunto "Jordan – Fiction"

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Berrebbah, Ishak. "Understanding the Function of Empathy through Laila Halaby’s West of the Jordan." Prague Journal of English Studies 10, no. 1 (2021): 75–90. http://dx.doi.org/10.2478/pjes-2021-0005.

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Abstract Arab American fiction has received great attention in the post-9/11 period. This ethnic literature has been put under a critical lens due to the aspects that shape it and the issues discussed in it. One of the main objectives of Arab American fiction is to bridge cultural differences and appeal to its readers, both Arabs and non-Arabs. This particular objective is achieved by the authors’ willingness to trigger empathetic engagement with their characters. As such, this paper looks at how Laila Halaby’s West of the Jordan (2003) functions in accordance with the poetics of empathy. In o
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Hovind, Jacob. "The Other Book: Bewilderments of Fiction by Jordan Stump." French Review 86, no. 4 (2013): 834–35. http://dx.doi.org/10.1353/tfr.2013.0389.

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Chouinard, Alain. "Water-sites in the Fiction and Cinema of Neil Jordan." Wasafiri 25, no. 2 (2010): 73–77. http://dx.doi.org/10.1080/02690051003652025.

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Bastos da Silva, Jorge. "Living in the Sunken Place: Notes on Jordan Peele’s ”Get Out” as Gothic Fiction." Lublin Studies in Modern Languages and Literature 43, no. 2 (2019): 125. http://dx.doi.org/10.17951/lsmll.2019.43.2.125-133.

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<p>The gothic imagination often expresses a sense of the instability and/or vulnerability of human identity, bearing either on specific individuals or on the species as a whole. The present article examines the 2017 film <em>Get Out</em>, written and directed by Jordan Peele,<strong> </strong>in order to highlight the ways in which its exploration of the abovementioned topic relates to the tradition of the gothic as it is recognisable in literary texts dating from as far back as the eighteenth century. Relevant titles include Walter Scott’s <em>Count Robert
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Govan, Sandra Y. "Alice Childress's Rainbow Jordan: The Black Aesthetic Returns Dressed in Adolescent Fiction." Children's Literature Association Quarterly 13, no. 2 (1988): 70–74. http://dx.doi.org/10.1353/chq.0.0285.

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Kabatek, Johannes. "Isolde J. Jordan,Characteristics and Functions of Direct Quotes in Hispanic Fiction. A Linguistic Analysis." Zeitschrift für romanische Philologie (ZrP) 120, no. 1 (2004): 218–20. http://dx.doi.org/10.1515/zrph.2004.218.

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Craven, Alice Mikal. "Horror and Loss in Samuel Fuller's Shock Corridor and Jordan Peele's Get Out." Black Camera 15, no. 1 (2023): 189–206. http://dx.doi.org/10.2979/blackcamera.15.1.14.

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Abstract: Samuel Fuller's Shock Corridor (1963) and Jordan Peele's Get Out (2017) were both created during dreadful points in America's history. But Fuller hopes his film will be seen as science fiction as opposed to real life as he states in his autobiography of 2002. Peele attests wisely that Fuller's hope will never be fulfilled. Both works, though filmed in different times, show a troublesome world. They both depict a fragile America. Both protagonists had a sharper eye or were better witnesses to their worlds. A sharper vision is to be valued. Johnny of Shock Corridor is a journalist delv
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Iqbal, Nasir, Umar Hayat, and Muhammad Asif Nadeem. "The Ethos of War Literature in For Whom the Bell Tolls." Global Language Review VI, no. I (2021): 254–63. http://dx.doi.org/10.31703/glr.2021(vi-i).28.

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The aim of this research paper is to demonstrate that Hemingway's work, ‘For Whom the Bell Tolls’ to show commitment to representing the war literature in which he realistically depicts the war scenes and the crippling impact of violence upon the individuals. This research is qualitative research carried out within the framework of theory, fiction, and history. We have deeply and analytically studied the text and marked the relevant portions. After many close readings and intensive study of the text, the relevant textual evidence was located, marked, and extracted. In 'For Whom the Bell Tolls,
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King, Andrew. "THE SYMPATHETIC INDIVIDUALIST: OUIDA'S LATE WORK AND POLITICS." Victorian Literature and Culture 39, no. 2 (2011): 563–79. http://dx.doi.org/10.1017/s1060150311000143.

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For many years, the novels of Ouida (Maria Louise Ramé, 1839–1908), were rejected as offering nothing but commercially valuable “voluptuous daydreams” (Leavis 164) that catered to “the degenerate taste of the new reading public of the commercial middle class” (Elwin 282). Since the late 1980s, however, they have been read with renewed interest. Ouida has come to be recognised as a “forgotten mother” of the 1890s aesthetic movement (Schaffer, Female Aesthetes and “Origins”); as a significant player on the anti–feminist side in the New Woman debates of the 1890s (Gilbert); and, with seeming para
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Tomas Reed, Conor. "The Early Developments of Black Women’s Studies in the Lives of Toni Cade Bambara, June Jordan, and Audre Lorde." Anuario de la Escuela de Historia, no. 30 (November 10, 2018): 45. http://dx.doi.org/10.35305/aeh.v0i30.249.

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<p>This article explores the pedagogical foundations of three U.S. Black women writers—Toni Cade Bambara, June Jordan, and Audre Lorde—widely recognized as among the most influential and prolific writers of 20th century cultures of emancipation. Their distinct yet entwined legacies—as socialist feminists, people’s poets and novelists, community organizers, and innovative educators—altered the landscapes of multiple liberation movements from the late 1960s to the present, and offer a striking example of the possibilities of radical women’s intellectual friendships. The internationalist re
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Teses / dissertações sobre o assunto "Jordan – Fiction"

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Al-Qasem, Ruby. "True Selves: Narrative Distance in Stories of Fiction and Nonfiction." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12069/.

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True Selves: Narrative Distance in Stories of Fiction and Nonfiction consists of a scholarly preface and four creative works. The preface discusses narrative distance as used in both fiction and nonfiction, and as compares to other narrative agents such as point of view, especially in contemporary creative writing. The selection of stories examines relationships, especially familial, and themes of isolation, community, and memory. Collection includes two chapters of a novel-in-progress, Fences, short fiction story "Trees and Furniture," and creative nonfiction essays, "Floating" and "On the Sp
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Cata, Zolani Theo. "Ukungquzulana lwenkcubeko yemveli neyasentshona kwi-ingqumbo yeminyanya / ukuba ndandazile." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53207.

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Text in Xhosa.<br>Thesis (MA)--University of Stellenbosch, 2002.<br>ENGLISH ABSTRACT: This study explores the cultural conflict between the Western and African cultures in two Xhosa novels. The two novels investigated in this study are Ingqumbo yeminyanya by A.C. Jordan and Ukuba ndandazile by W.K. Tamsanqa. We concentrate on the two older Xhosa novels with the aim to find out how they deal with the cultural conflict arising from western and traditional Xhosa life systems. Chapter 1 of the study presents the aims of the study. Chapter 2 presents theoretical underpinnings of literature a
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Stjernström, Elsa, and Jenny Emanuelsson. "Dystopi och jordens undergång : En genreanalys av dystopiska inslag i fiktiv film." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-21167.

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This study is a research on how dystopian features are expressed within different genres. The purpose is to discuss films that contain dystopian features in relation to genre and to examine if there are shared conventions in the films that can make dystopia a film genre on its own. The theoretical base includes genre theory and Rick Altman’s semantic/syntactic approach to film genre. Five films from different genres, all produced within the time period of 2000-2010, are analyzed with a semantic/syntactic approach to genre and then discussed in relation to dystopia and prior research. By using
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Lamonica, Lucas de Castro 1986. "Filomena Borges : romance, imprensa e política." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270139.

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Orientador: Orna Messer Levin<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-27T01:32:43Z (GMT). No. of bitstreams: 1 Lamonica_LucasdeCastro_M.pdf: 28700376 bytes, checksum: cc793f5c477faa30a2bff6eeadfcf698 (MD5) Previous issue date: 2015<br>Resumo: Filomena Borges é um romance de Aluísio Azevedo, publicado em folhetim pela Gazeta de Noticias entre 18 de dezembro de 1883 e 13 de janeiro de 1884. Esta dissertação resulta do estudo desse romance em seu contexto de produção e circulação, recorrendo à leitur
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Olsson, Simon. "Äventyrsgenrens funktioner från fiktionsprosa till interaktiv fiktion : En intermedial jämförelse mellan fyra verk." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-39172.

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The purpose of this thesis is to apply the adventure formulas laid out by John G. Cawelti and the dramatis personae written by Vladimir Propp to the traditional adventure books Le Tour du monde en quatre-vingts jour (1874) and Treasure Island (1883) and the interactive fictions The Secret of Monkey Island (1990) and 80 Days (2014), both in the adventure genre. After they have been applied, I will compare Le Tour du monde en quatre-vingts jour with 80 Days and Treasure Island with The Secret of Monkey Island by how the formulas and dramatis personae work and evolve in the fictions. To start thi
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Vieira, Cirlei Garcia Andrade. "Clarice Lispector nas colunas femininas: do batom ao infinito." Universidade Federal de Uberlândia, 2015. https://repositorio.ufu.br/handle/123456789/11896.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>In Brazil, the area of Literature in the newspapers was the way found by many writers as a way to promote their written as receiving a salary. The show was one of the first literary manifestations in the communication vehicle newspaper. Then came the chronic and finally the female columns, in our case being studied, the female speaker Clarice Lispector. The author of A hora da estrela is known for her novels and short stories, but also wrote columns for newspapers of Rio de Janeiro, in the 50 and 60. Our dissertation consists of
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Wypkema, Laurel. ""Sex, loyalty, betrayal and unexpected love:" the landscape of Neil Jordan's fiction writing and films." Thesis, 2006. http://spectrum.library.concordia.ca/9103/1/MR20808.pdf.

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Neil Jordan is widely considered to be one of Ireland's preeminent filmmakers. Interestingly, Jordan's less-recognized career as a writer has been overshadowed by his clout as a filmmaker, despite its high quality. As a result, much of his work has not received the critical assessment and analysis to which it is undoubtedly entitled. This study seeks to understand the many connections and intersections between Jordan's literature and film. It hopes to bridge a gap in the critical reception of Jordan's work which has, so far, looked only fleetingly into the intersections between his published
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Livros sobre o assunto "Jordan – Fiction"

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Kearney, Susan. Jordan. Forever, 2010.

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Cimarron Jordan. St. Martin's Paperbacks, 1996.

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Braun, Matt. Cimarron Jordan. St. Martin's Paperbacks, 1996.

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Christine, Le Boeuf, ed. Little Jordan. Leméac, 2000.

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ill, Schultz Suzy, ed. Crossing Jordan. Peachtree, 2002.

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Thornton, L. D. Jordan falls. BookSurge], 2008.

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Griggs, Vanessa Davis. Promises beyond Jordan. New Spirit, 2004.

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Youmans, Marly. Little Jordan: A novel. David R. Godine, 1995.

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ill, King Tara Calahan, ed. Four boys named Jordan. G.P. Putnam's Sons, 2004.

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Maggie Jordan: Scarlet ribbons. Time Warner, 2004.

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Capítulos de livros sobre o assunto "Jordan – Fiction"

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Roggenkamp, Karen. "Elizabeth Jordan, “True Stories of the News,” and Newspaper Fiction in Late-Nineteenth-Century Journalism." In Literature and Journalism. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137329301_6.

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Kissane, Michael. "Popular Culture in 1960s Provincial Ireland: Neil Jordan’s The Butcher Boy." In Screening Modern Irish Fiction and Drama. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40928-3_12.

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Murphy, Bernice M. "Conclusion: ‘It’s Our Time Now’: Us (2019) and Desierto (2015)." In The California Gothic in Fiction and Film. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474497862.003.0009.

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Here, the California Gothic is discussed in relation to its tendency to privilege the perspectives of white characters of Anglo-American descent. It is argued that Jordan Peele’s 2019 film Us subtly reminds us from the outset that it is a narrative with California-specific resonances. It also reminds us that the California Gothic is overwhelmingly associated with white creators, white protagonists and the dramatization of middle-class white anxieties. Here, a revolution which begins in California is again one that will soon expand far beyond the spatial boundaries of the state. The final film discussed in this volume is the Mexican-made survival horror movie Desierto (2015), directed by Jonás Cuarón. In Desierto, the desperate immigrant’s journey towards the ‘Promised Land’ of California is relayed from a twenty-first century genre-movie perspective. It overlaps with (and updates) many of the themes discussed during the first chapter, particularly the feeling that the ‘right’ to enter the Eden of California is often won at a high cost. Here, however, the travellers in peril here are modern-day migrant workers desperate to make it across the border to be reunited with family members.
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LoBrutto, Vincent. "Alienation." In Ridley Scott. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.003.0006.

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Ridley Scott decides to adapt Tristan and Isolde for his next film, with producer David Puttnam on board and a completed screenplay. In 1977 it is placed in development at Paramount. Scott sees Star Wars and is devastated to learn that the movie incorporated many of the ideas he had had for his project. 20th Century Fox puts Scott on a list of possible directors for Alien. Scott is selected and signs onto the dark science fiction/horror film. The movie concerns a beast aboard a spaceship that devours the crew members one by one. The remaining member, a strong and capable woman, manages to eliminate the monster. The visuals are complex, believable, and very scary. The film is a success and puts Ridley Scott on the Hollywood map. Scott next says yes to Dune, a major science fiction project, but his brother Frank dies of cancer at forty-five and Ridley Scott is emotionally unable to continue with the project. In 1975 he marries Sandy Watson, with whom he has a daughter, Jordan. Watson and Scott divorced in 1989.
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Ingram, Penelope. "Interlude." In Imperiled Whiteness. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845498.003.0009.

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This chapter introduces the section on Postracial Resistance which pivots away from cinematic and televisual texts that foreground whiteness and turns to the ways Black directors, Jordan Peele and Ryan Coogler, “trouble” prevailing representations of Blackness in the realm of cinema. It argues that the expectation of racial veracity in realist film limits the artistic range of Black filmmaking, produces normative discourses about Black life, and appears to make Black lived experience and subjects knowable to (white) audiences. This chapter foreshadows the arguments made in chapters eight and nine that Peele and Coogler utilize speculative fiction to disrupt the realist visual field in which Black life has been presented as knowable and consumable. SF enables Black filmmakers to forego the responsibility and weight of having to represent the “truth” of Black life and experiences.
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Cofer, Jordan. "The Trouble with “Innerleckchuls”: Flannery O’Connor, Anti-Intellectualism, and the Iowa Writers’ Workshop." In Reconsidering Flannery O'Connor. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831798.003.0007.

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In dialogue with Eric Bennett and Mark McGurl’s work on the Iowa Writers’ Workshop, as well as Tara Powell’s work on archetypes, Jordan Cofer uses new information from the Emory Archive and The Prayer Journal to contextualize one of O’Connor’s most famous comedic devices: the antagonistic intellectual. Cofer argues that although this device may have roots in southern fiction, O’Connor’s anti-intellectual trope derives from her time in the Iowa Writers’ Workshop. This chapter examines some of O’Connor’s juvenilia, the drafts of Wise Blood she was writing in Iowa (while simultaneously writing in her journal), and some of the short stories she wrote while enrolled at the Workshop. Finally, Cofer reconsiders the origins of O’Connor’s anti-intellectual as a potential outgrowth of her own anxieties during this time.
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King, Amy K. "Conclusion." In Grotesque Touch. University of North Carolina Press, 2021. http://dx.doi.org/10.5149/northcarolina/9781469664644.003.0007.

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The conclusion argues that some texts magnify the ironies of power by blending generic conventions, and/or they might remix generic conventions to implicate the United States as a nation in plantation violence. The chapter examines three texts that exemplify such ironies to various degrees. First, the chapter analyzes the comic book series Bitch Planet by Kelly Sue DeConnick and Valentine De Landro (2014–17) as it blends, bends, and (sometimes) breaks tropes of science fiction/dystopian genres and women-in-prison exploitation films. However, the series also operates within the narrative confines of an exceptional plantation setting. Then, the chapter analyzes how the HBO series Insecure (2017) and Jordan Peele’s film Get Out (2017) reconfigure plantation settings in ironic and self-reflective ways through elements of melodrama, comedy, and horror, respectively. In doing so, these texts mix generic elements and situate violence in broader national contexts. This chapter concludes that women’s violence remains a narrative feature across these genres.
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Blanchon, Jean-Louis. "Sur l’Incendi histoire et fiction." In Jordi Pere Cerdà. Presses universitaires de Perpignan, 2004. http://dx.doi.org/10.4000/books.pupvd.9513.

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Johnson-Hunt, Nancy. "We’re Human Too, You Know”:Tethered Journeys and Shadowed Strggles in Jordan Peele’s Us (2019)." In Female Identity in Contemporary Fictional Purgatorial Worlds. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781350227064.ch-14.

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Fraser, Benjamin. "Architecture, Materiality, and the Tactile City." In Visible Cities, Global Comics. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825032.003.0005.

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This chapter explores the built environment of the city at a personal scale. In a cover titled “The Comix Factory” designed for the comics magazine Raw, Dutch artist Joost Swarte employs the formal depth of comics to suggest their connection to tactile qualities of urban life in three dimensions. American Chris Ware’s ambitious boxed anthology Building Stories invites a tactile reading experience and pushes the architectural form of the comics multiframe to its limits. Also hailing from America, Mark Beyer’s transposition of his popular Amy and Jordan comic to the format of “City of Terror Trading Cards” uses tactility to implicate comics in city circulation patterns. Canadian artist Seth has been building tactile models of buildings in Dominion—the fictional setting for many of his comics. The Ghost of Gaudí by El Torres and Jesús Alonso Iglesias highlights Barcelona’s architecture.
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