Literatura académica sobre el tema "Regret – fiction"
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Artículos de revistas sobre el tema "Regret – fiction"
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Womack, Elizabeth Coggin. "Anticipated Ends, Atonement, and the Serialization of Gaskell's North and South". Dickens Studies Annual 48, n.º 1 (1 de septiembre de 2017): 231–52. http://dx.doi.org/10.5325/dickstudannu.48.2017.0231.
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Abstract Scholars addressing the conflict between Elizabeth Gaskell and her editor Charles Dickens during the serialization of North and South tend to focus on her resistance to his heavy editorial hand or his chagrin at her less suspenseful style. This essay turns instead to their shared tendency to refer to fictional works-in-progress as alive yet mortal—a guiding metaphor that shapes the novel's morbid concluding themes. Dickens, as editor, understood what he called the “vitality” of Gaskell's fiction in terms of sustained readership, while Gaskell sensed that “Margaret”—both her protagonist and her eponymously named manuscript—lived in some way, and could therefore die should the novel fail artistically. These themes color the novel's conclusion, where we find not only the flaws that prompted Gaskell's fears of failure, but also a series of morbid meditations as the protagonist anticipates deathbed retrospection and regret. This study of Dickens and Gaskell's joint investment in the “life” and “death” of fiction, together with Margaret's morbid meditations and desire for atonement, allows us to read in North and South a collaborative yet contested meditation on the anticipated ends of serial fiction.
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Womack, Elizabeth Coggin. "Anticipated Ends, Atonement, and the Serialization of Gaskell's North and South". Dickens Studies Annual 48, n.º 1 (1 de septiembre de 2017): 231–52. http://dx.doi.org/10.5325/dickstudannu.48.1.0231.
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Abstract Scholars addressing the conflict between Elizabeth Gaskell and her editor Charles Dickens during the serialization of North and South tend to focus on her resistance to his heavy editorial hand or his chagrin at her less suspenseful style. This essay turns instead to their shared tendency to refer to fictional works-in-progress as alive yet mortal—a guiding metaphor that shapes the novel's morbid concluding themes. Dickens, as editor, understood what he called the “vitality” of Gaskell's fiction in terms of sustained readership, while Gaskell sensed that “Margaret”—both her protagonist and her eponymously named manuscript—lived in some way, and could therefore die should the novel fail artistically. These themes color the novel's conclusion, where we find not only the flaws that prompted Gaskell's fears of failure, but also a series of morbid meditations as the protagonist anticipates deathbed retrospection and regret. This study of Dickens and Gaskell's joint investment in the “life” and “death” of fiction, together with Margaret's morbid meditations and desire for atonement, allows us to read in North and South a collaborative yet contested meditation on the anticipated ends of serial fiction.
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Belle-Isle, Francine. "Corps et langage dans Les Voyageries de Victor-Lévy Beaulieu. Là où « la lettre volée » fait signe et hystérise l’écriture". Dossier 18, n.º 1 (30 de agosto de 2006): 26–38. http://dx.doi.org/10.7202/200995ar.
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Résumé Poser la question de la sexuation du discours en bordure du réel impos-sessible, dans le hors-champ de la différence et non dans le champ des différences, même sexuelles, telles est l'ambition de cet article qui voudrait saisir le sujet d'énonciation dans l'aliénation qui le traverse et l'expulse hors des lieux dits de son identité, dans l'espace métapborisant de sa fiction. Dans le récit-fleuve que sont Les Voyageries de Victor-Lévy Beaulieu, l'auteure essaie de lire -le désenchantement' du " si pauvre Abel- dont l'écriture semble se conjuguer au futur antérieur, tout entière entre regret et promesse, en plein coeur du désir.
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Afifa Naz. "Intizar Hussain: The Master of Urdu-Hindi Civilization". MAIRAJ 2, n.º 1 (17 de julio de 2023): 41–52. http://dx.doi.org/10.58760/mairaj.v2i1.14.
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Intizar Hussain was a fiction writer with a novel use of symbolic and metaphorical styles, but for all his retrospect and escapism and denial of the future, his writings have a strange poignancy and beauty. It has the same charm one feels in old buildings on moonlit nights. Besides being a respected name in Urdu fiction, he was a great challenge to the pioneer fiction writers due to his style and changing tones. The atmosphere of his writings echoes the stories of the past. Regret, rememberance of past , love of the classics, nostalgia for the past, lamenting the past and seeking refuge in tradition are very prominent here. In many places, the style and tone become harsh in expressing the sadness and expression of the disintegration of the old values and the superficial and sentimental nature of the new values. He also made the mythological trend a part of his writings. Extensive study is also required to find out the mysteries of their legends. A special kind of tension regarding migration is ongoing with Intizar Hussain. He could not logically separate himself from this situation. He was not interested in the external structure of life, but he cared about the condition that was faced inwardly. This is the deep diving and stylistic diversity of Intar Hussain. But they also call it intellectual and visual backwardness. In such a case, they declare the moral struggle of the individual as meaningless. This thematic and stylistic level is where Intizar Hussain seems to enter the foreground of fiction.
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von Rosenberg, Ingrid. "Old Age as Horror Vision or Comfort Zone in the Late Fiction of Contemporary British Novelists". Anglia 139, n.º 3 (1 de septiembre de 2021): 494–515. http://dx.doi.org/10.1515/ang-2021-0040.
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Abstract Old people have always figured in literature, but the unprecedented and worldwide growth of longevity in the twentieth century has triggered new fictional approaches to the topic of aging. Thus, since the late 1980 s, an ever growing number of established British writers, reaching their own advanced years, have written on age from an insider’s perspective, creating old main characters and focusing on their mental and physical experiences. I have examined six of such novels, published between 1986 and 2019, trying to find out how the authors construct their heroes’ and heroines’ aging selves by imagining their attitudes to certain central issues like time, death, physical decay and human relationships. Of the classical formative categories (gender, class, ethnicity, etc.) gender has proved to be the most essential, especially when it comes to the perspectives on time. While the view of heroes created by male writers remains fixed on the past, often with nostalgia, sometimes with regret, the women authors’ heroines focus on their present situation with a view to the future, represented by children and grandchildren. Class turned out to be a second important category: the (uncontemplated) safe middle-class position of all protagonists appears as an indispensable precondition for the free choice of attitude to the challenges of aging.
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V, Sutha y Karpagam R. "Female Body Language that is known through the Songs of Natrinai Avvaiyar". International Research Journal of Tamil 4, n.º 4 (9 de octubre de 2022): 137–43. http://dx.doi.org/10.34256/irjt22416.
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During the Sangam age, both male and female poets sang about the situations of women. The thoughts and understandings of women by the male poets are different. The female body songs of the male poets are shown as attractive and for the sake of lust. It is the same that can be seen in the songs of the female poets with a great deal of regret. This article attempts to explain these points. Titled ‘Pen Udal Mozhi (Female Body Language)’, which is known through the songs of Natrinai Avvaiyar, this article explains the information about the body language of a woman in Natrinai, one of the Ettutthokai books (The Eight Anthologies) of Sangam literature. Only four poems of a female poet, Avvaiyar, have been explained in the preface along with the songs of some male poets, feminist thought in Sangam literature, interpretation of body language, eight primary elements of body language, the body language of women, body language, organ welfare fiction, women and makeup, the destruction of organ welfare, conclusion, sub-book list, etc. In this article, it is explained that only the concepts spoken about the woman's body are body language.
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Bartnik, Ryszard. "From Unparalleled “Greatness” to Predictable Insularity. A Composite Sketch of “Warped Britishness” as Drawn in Selected Works of Contemporary English Fiction". Porównania 30, n.º 3 (27 de diciembre de 2021): 55–76. http://dx.doi.org/10.14746/por.2021.3.4.
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Brexit, as seen from the present perspective, is seemingly a success story. Taking into account a myriad of voices expressed in the public domain over the past few years, it is legitimate to make a cautious claim that some of the expectations people shared before/during the referendum have been inflated and deflated in the post-plebiscite reality. In 2016, across the majority that voted for the divorce, a growing consensus on the soundness and solidity of pro-Leave arguments about Britain being in crisis was seen. The proponents of change had endorsed the policy of restoring a sense of national dignity. That mode of reasoning, though still present within current “British” mindsets, has been confronted with the “unplanned” turbulence of national (re) adjustment. The whole process of bidding farewell to the European Union has led to sentiments of uncertainty/anxiety/regret, rather than to the anticipated sense of satisfaction/relief. Therefore, it seems both vital and interesting to juxtapose the passion about restoring people’s trust in Britishness/Englishness, and its “exceptionality” with more sobering projections of a new post-Brexit world. In order to discuss the consequences of this self-inflicted condition, I will here elaborate on selected English literary texts. They feature authors who draw conclusions running parallel to Anderson’s assumptions that in times of crisis a general predilection for self-deluding (re)constructions of collective identity can be observed, which are variously expressed in a merely referential, subversive or satirical manner.
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Seitbekova, A. A. "THE USE OF BORROWED EMOTIVE VOCABULARY IN TEXTS OF MEDIEVAL ARTISTIC POETIC WRITTEN MONUMENTS". Tiltanym 87, n.º 3 (30 de septiembre de 2022): 69–80. http://dx.doi.org/10.55491/2411-6076-2022-3-69-80.
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Many abstract concepts in modern Turkic languages are borrowed from Arabic and Persian and have free use in the language system of the Turkic peoples. The use of some emotive lexical concepts that are absent in the Turkic languages, including Kazakh, can be traced in the texts of medieval written monuments. Emotive vocabulary is widely used in the fiction of the modern Kazakh language, and in colloquial speech. Since then, emotive lexical units have become the richest lexical means of language, firmly entrenched in our vocabulary. In this regard, this article in the XIII-XIV centuries examines the features of the use of emotive vocabulary in the texts of written monuments borrowed from Arabic and Persian languages, continuity with the modern Kazakh language. In the language of monuments of artistic poetic writing that have come down to our era, the special use of emotive lexical units was used by Turkic poets to glorify Allah, preach Islam, describe the beauty of a girl and glorify relationships between people. The article classifies Arabic, Persian emotive lexical units in the texts of written monuments of the Golden Horde era within the framework of the functional and semantic field, analyzes the continuity with the modern Kazakh language. As a result of the research, the main emotive concepts on the content of written monuments are revealed. That is, the emotive concept of "love" is systematized into microconceptual models of "love", "joy", "regret".
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Deepak, T. R. "The Inner Quandary of Woman in Daniel Defoe’s Moll Flanders". Shanlax International Journal of English 9, n.º 3 (1 de junio de 2021): 46–49. http://dx.doi.org/10.34293/english.v9i3.3793.
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Daniel Defoe is an enchanted incinerator of English literature sprung during the initial years of eighteenth century. His applauded Moll Flanders (1722) is professed as picaresque in literary vegetation. He has emotionally painted the commotion of a solitary, imprudent and prevalent female distinct against an inimical and droopy humanity. As a matter of datum, the female chief strolls into the alleyway of assorted catastrophes. She has borne the humanity either in an orthodox or warped mundane. All these archetypes of women have shed light in the fiction even before the initiation of feminist movements athwart the realm. These movements have engrossed the intellect of community and sedated as operational. At regular intervals, these have performed more elegant and redundant than being operative.Moll Flanders is not a typical incarnation of feminist thoughts. It has never strained to sketch an itinerary for the relegated female personality to outshine her eccentricity. Yet, it is indubitably pro-woman and reconnoiters a female character with the reputation of protagonist. The farsighted image of woman with grander tenets of empathy and sympathy is blossomed. In the contemporary habitat, the novel may not seem like far-reaching as it pushes the female lead to imitate and regret with ceaseless kinks and contraventions. But the novelist is ahead of his epoch in aiding his female protagonist to gallop and endure the probabilities amidst dejection and misfortunes. Hence, the research ornate has through an endeavour to enchant the inner quandary of woman in a masculine captivated sophistication with reference to Daniel Defoe’s Moll Flanders.
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Leggo, C. "Who speaks for extinct nations? The Beothuk and narrative voice". Literator 16, n.º 1 (30 de abril de 1995): 31–50. http://dx.doi.org/10.4102/lit.v16i1.582.
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The Beothuk of Newfoundland were among the first inhabitants of North America to encounter European explorers and settlers. By the first part of the nineteenth century the Beothuk were extinct, exterminated by the fishers and soldiers and settlers of western Europe. The last Beothuk was a woman named Shanadithit. She was captured and lived with white settlers for a few years before she died in 1829. Today all that remains of the Beothuk nation, which once numbered seven hundred to one thousand people, are some bones, arrowheads, tools, written records of explorers and settlers, and copies of drawings by Shanadithit in the Newfoundland Museum. In recent years several writers (all are white and male) have written fiction and poetry and drama about the Beothuk, including Peter Such (Riverrun, 1973), Paul O'Neill (Legends of a Lost Tribe, 1976), Sid Stephen (Beothuk Poems, 1976), Al Pittman ("Shanadithit," 1978), Geoffrey Ursell (The Running of the Deer; A Play, 1981), Donald Gale (Sooshewan: A Child of the Beothuk, 1988), and Kevin Major (Blood Red Ochre, 1990). A recurring theme in all these narratives is the theme of regret and guilt. These narrative accounts of the Beothuk raise significant questions about voice and narrative, including: Who can speak for Native peoples? Who can speak for extinct peoples? Are there peoples without voices? How is voice historically determined? What is the relationship between voice and power? How are the effects of voice generated? What is an authentic voice? How is voice related to the illusion of presence? What is the relation between voice and silence? In examining contemporary narrative accounts of the Beothuk my goal is to reveal the rhetorical ways in which the Beothuk are given voice(s) and to interrogate the ethical and pedagogical implications of contemporary authors revisiting and revisioning and re-voicing a nation of people long extinct.
Tesis sobre el tema "Regret – fiction"
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Cochran, Joan Lipinsky. "Tootsie's regret and other stories". FIU Digital Commons, 2009. http://digitalcommons.fiu.edu/etd/2393.
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Tootsie's Regret and Other Stories is a collection of fifteen interlinked short stories that explore the relationship between Tootsie Plotnik, an aging Jewish gangster turned- legitimate businessman, and his daughter, Deborah, a middle-aged, recently divorced writer who learns of her father's unsavory past. The stories show how Deborah's divorce colors her perception of her father, while her growing intimacy with the older man forces her to reexamine her assumptions about his past and one's ability to know another human being.
The stories' style was influenced by The Yiddish Policeman's Union, in which Michael Chabon intertwined Yiddish expressions with the hard-boiled style of mystery writing. As with Mitch Albom's Tuesdays with Morrie, the stories are told over a series of visits between father and daughter. Though particular to the Jewish-American experience, the stories echo universal themes about facing the aging and loss of one's parents while accepting them as vulnerable, imperfect human beings.
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Ehlen, Jason. "A Single Regret". FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2511.
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A SINGLE REGRET is a murder mystery set on the post Hurricane Sandy Jersey shore.
At thirteen, Jimmy Miller killed his father in retribution for murdering his mother. Twenty years later, he returns home because of the murder of his childhood best friend, Dillon Abernathy. Jimmy learns that Gavin, a classmate turned junkie, is charged with murdering Dillon, a scenario Jimmy doesn’t find plausible, so he decides to pursue leads the police won’t.
Told in first person past tense, A SINGLE REGRET follows Jimmy as he unearths the secrets behind his friend’s death and also learns the truth behind the destruction of his own family. As in Dennis Lehane’s Mystic River, the novel examines how childhood ties shape perceptions in ways that are both true and false. Jimmy is forced to evaluate his own sense of bitterness and learn how to forgive his own mistakes and those of others.
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Mickael, Melissa Louise. "then moored". Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363302588.
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Rosén, Eriksson Ellinor. "Elever och lärares resonemang kring läsning av skönlitteratur. : Redogörelse över hur läsning av skönlitteratur i klassrummet påverkas av lokala faktorer, regler och strategier". Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68361.
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Syftet med denna studie är att undersöka vilka faktorer som påverkar elevers intresse och lust till att läsa skönlitteratur och vilka strategier som används för att motivera till läsning. För att möjliggöra denna studie intervjuas femton elever i en klass fem och deras tre lärare genom en metod som kallas fokusgrupper. Fokusgrupper är en kvalitativ intervjumetod som grundar sig helt på deltagarnas personliga upplevelser och åsikter. Deltagare i fokusgrupper får i förhand information om vad som skall diskuteras vid intervjutillfället. Det är deltagarnas diskussioner och resonemang som sedan analyseras och används som data till examensarbetet. Resultatet av studien visar att deltagarnas läsning av skönlitteratur präglas av en rad olika faktorer som skall gynna läsningen. Den främsta och viktigaste faktorn för att gynna den skönlitterära läsningen är valet av skönlitterär bok, den skall helst vara tilltalande och spännande.The aim of this study is to investigate which factors that affect students interest and desire to read fiction and what strategies are used to motivate reading. In order to enable this study, fifteen students are interviewed in class five and their three teachers through a method called focus groups. Focus groups are an interview method that takes place in the participens per- sonal experiences and opinions. Participants in focus groups receive prior information about what should be discussed before and at the interview session. It is the participants discussions and reasoning that are important and then analysed and used as data for the exam project. The results of the study show that the participants reading of fiction is characterized by a variety of factors that should benefit from reading. The primary and most important factor for favouring the literary reading is the choice of fiction literature, it should preferably be appealing and exciting.
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Miles, C. J. "Zeno's paradoxes in modern fiction : an analysis of the use of the infinite regress and the influence of ecleatic philosophy in the works of Borges, Beckett, O'Brien, Calvino and Eco". Thesis, University of East Anglia, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357184.
Texto completoLibros sobre el tema "Regret – fiction"
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Copyright Paperback Collection (Library of Congress), ed. Gunning for regret. New York: Berkley Books, 2001.
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Washington, AlTonya. A lover's regret. New York: iUniverse, Inc., 2008.
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Coffin, Julie. Shadows of regret. Bath, England: Chivers Press, 2000.
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Faherty, Terence. Live to regret. New York: Worldwide, 1992.
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Ziglar, Zig. The jewel thief's regret. Wheaton, Ill: Tyndale House, 1987.
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Ingram, Catharine. Stop it now or regret it later. Homewood, IL: NBG Printing & Pub. Services, 2004.
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Cooper, Alice. Regret. Wings ePress, Inc., 2013.
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Faust, Gabrielle. Regret. Weird House Press, 2010.
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Faust, Gabrielle. Regret. Weird House Press, 2011.
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Cooper, Alice. Regret. Wings ePress, Inc., 2013.
Buscar texto completoCapítulos de libros sobre el tema "Regret – fiction"
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Armstrong, Nancy. "Seduction and the Scene of Reading". En Desire and Domestic Fiction, 203–50. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195061604.003.0006.
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Abstract It may be with some regret that we feel the passion depart as the first generation of lovers dies out of Wuthering Heights or when a much subdued Rochester reappears in Jane Eyre without his hand, eye, and lunatic wife, but there is no question that these figures of desire have become obsolete. The circumstances in which we find them at the end of these novels tells us that such manifestations of sensuality may be regarded with nostalgia but not wished back into being.
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"Chapter 9. Specific Literary Relations of Sea of Regret". En Chinese Fiction of the Nineteenth and Early Twentieth Centuries, 183–98. Columbia University Press, 2004. http://dx.doi.org/10.7312/hana13324-009.
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Keymer, Tom. "7. Passion and Persuasion". En Jane Austen: A Very Short Introduction, 103–16. Oxford University Press, 2022. http://dx.doi.org/10.1093/actrade/9780198725954.003.0008.
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‘Passion and Persuasion’ explores psychology in Jane Austen’s Persuasion (1817), a novel focused on the suppression and eventual resurgence of passion. Memory is one of the work’s central themes, and the pressures exerted by past choices on consciousness in the present, and on future life. Indeed, the first volume of Persuasion narrates not a shallow capacity for passion but the crushing psychological consequence of wrong decisions and ongoing regret—a pattern amplified by the rich historical (indeed prehistoric) resonances of Lyme Regis, where a pivotal phase of the action takes place. Ultimately, Persuasion unfolds for the heroine as a clever but relentlessly painful reversal of the standard narrative trajectory of courtship fiction. We can observe how in Persuasion, the navy offers a salutary model of national progress in the post-war future.
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Annas, George J. "Bioethics and Bioterrorism". En American Bioethics, 3–18. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195169492.003.0001.
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Abstract American bioethics is often more pragmatic than principled, and quickly crossed both health law and human rights boundaries in response to 9/11 and our new global war on terrorism. War and terrorism test our commitment to principles, especially legal principles, and can cause us to temporarily abandon them. Although it has been three years since 9/11, health law, bioethics, and human rights lessons can already be drawn from America’s reaction to this unprecedented terrorist atrocity. Fear makes it difficult to distinguish fact from fiction, reality from fantasy, and truth from lies, all of which means that our initial reactions are likely to be overreactions that we will ultimately come to regret. In the immediate aftermath of 9/11 both bioethics and human rights principles were compromised in America. Nonetheless, the premise of this opening chapter is that boundary crossings between the realms of bioethics, health law, and human rights, tentatively under way well before 9/11, take on more urgency in its wake. In fact, 9/11 itself could yet serve as a catalyst to bring these symbiotic fields even closer together—working synergistically to make the world a better place to live.
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Paszkiewicz, Katarzyna. "Hollywood Transvestite: Kathryn Bigelow’s The Hurt Locker1". En Genre, Authorship and Contemporary Women Filmmakers, 100–133. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.003.0004.
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This chapter offers an analysis of the authorial persona of Kathryn Bigelow in relation to her Iraq War movie, The Hurt Locker (2008). Bigelow represents a cause célèbre for feminist criticism in terms of her apparent abandonment of her earlier experimental work for mainstream narrative fiction, her presumed subversion of Hollywood gender types and genres, her refusal of both feminist and gendered identities, and her ‘capitulation’ to the supposedly masculinist action genre. Bigelow’s work thus puts into tension the conjunction of women filmmakers, genre, authorship and the questions posed by feminist film criticism – issues dramatised by her nomination for the Best Director Oscar in competition with her former husband’s sci-fi film, Avatar (2009). In contrast to the readings that regret the lack of female characterisation or that place The Hurt Locker within the realist realm of signification – considering Bigelow’s aesthetics as a documentary gesture that transmits an accurate description of warfare – the chapter explores the director’s highly self-aware and metageneric approach to filming. While framing it within Bigelow’s authorial signature, the chapter argues that The Hurt Locker participates in the contemporary war film format, conceptualised by Robert Burgoyne (2013) as a ‘body genre’, concluding that the film creates tensions between abstract, mythical masculinity and the singular, material body at risk.
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Jones, Gwyneth. "Interviews". En Joanna Russ, 157–70. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042638.003.0009.
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Interview conducted by email in 2017–18 GWYNETH JONES: You met Joanna Russ when you were at the University of Washington, and she became your self-chosen mentor—for a while. Could you tell me how that came about? KATHRYN CRAMER: When I was in high school, my father got back in contact with Gene Wolfe, whom he had known as a child. Gene came to Seattle to attend Norwescon and suggested that we come out. That was my first sf convention. I’m not sure if it was at that Norwescon or one a few years later, but I saw Joanna Russ speak on panels and found out she was on the University of Washington faculty. She was an amazing, charismatic speaker, and I decided that I wanted to take courses with her and looked her up in the university catalog after the convention. I took several quarters of her science fiction writing class. I don’t remember if I had read any of her work before I started taking her class. I think I may have read a couple of her novels as preparation. But I had already decided to take her class based on listening to her talk at Norwescon. Many of her students were a bit scared of her and so her office hours were very open timewise. I would just go and talk to her for as much of the time as was available. If anyone else showed up, I would defer. A guy named Michael Gilbert, who later went to Clarion West with me, usually was there, too. My big regret is that she taught a science fiction criticism course and I didn’t take it. Michael took it; I was involved in student government and didn’t have the time. But I heard all about what they studied from Michael....
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Dudley Edwards, Owen. "Sources, Guides and Regrets". En British Children's Fiction in the Second World War, 683–703. Edinburgh University Press, 2007. http://dx.doi.org/10.3366/edinburgh/9780748616510.003.0012.
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"Sources, Guides and Regrets". En British Children's Fiction in the Second World War, 683–704. Edinburgh University Press, 2007. http://dx.doi.org/10.1515/9780748628728-013.
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Kennon, Patricia. "“Superpowers Don’t Always Make You a Superhero”". En Posthumanism in Young Adult Fiction, 117–34. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816696.003.0006.
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Michael Grant’s popular Gone series, as Patricia Kennan argues, is mostly a failed attempt at exploring posthuman possibilities. As characters under the age of 15 are trapped under a city-wide dome to fend for themselves, having to deal with mutations that make many of them superhuman, they regress to acting out the worst of human traits. The few who are generous and social-minded are heroic in their intentions but are overrun by those whose powers are fed by greed. Grant seems to delight in describing monstrous mutations, while characterizing homosexuality, special needs children, and nonwhite races or ethnicities as less than human.
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Foster, R. F. (Roy). "Hand-rails to the past: McGahern and the memory of the Irish revolution". En John McGahern. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526100566.003.0004.
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This chapter looks at the way McGahern represents the memory of the Irish revolution in Amongst Women, That They May Face the Rising Sun, and in his autobiographical writings. The disillusioned and often bitter reflections of his protagonists partly reflect his own family’s experience, but also echo a strong reaction among writers and ex-activists in the 1920s and 1930s, whose responses and regrets are traced through the writings of people such as P.S. O’Hegarty, Desmond Ryan, Ernie O’Malley and Bulmer Hobson, as well as private letters and reflections. It is suggested that McGahern is in a sense channelling a powerful theme in the history of independent Ireland, that of living with the memory of violence by means of evasion and suppression, and that this lends his fiction a historical dimension which has not been fully appreciated.