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Letteratura scientifica selezionata sul tema "Catholicism - Fiction"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Catholicism - Fiction"

1

Tate, Adam L. "Forgotten Nineteenth-Century American Literature of Religious Conversion". Catholic Social Science Review 24 (2019): 107–18. http://dx.doi.org/10.5840/cssr20192432.

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The article examines the vision of Catholicism in the fiction of J. V. Huntington, an Episcopal clergyman who converted to Catholicism in 1849 through the influence of the Oxford Movement. Huntington wrote several Catholic novels during the 1850s that won him contemporary recognition. His view of Catholicism was very different than either the republican Catholicism that emerged from the Maryland Tradition or the ethnic Catholicism of nineteenth-century urban ghettos, an indication that the views of converts, like other Catholics sitting outside of the mainstream of modern scholarly models, complicate significantly the story of American Catholicism.

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2

Levander, Caroline. "Anti-Catholicism and Nineteenth-Century Fiction". Studies in American Fiction 33, n. 1 (2005): 119–20. http://dx.doi.org/10.1353/saf.2005.0003.

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3

Groppe, John D. "Anti-Catholicism and Nineteenth-Century Fiction". Newman Studies Journal 4, n. 1 (2007): 94–97. http://dx.doi.org/10.5840/nsj20074111.

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4

LaMonaca, Maria. "Anti-Catholicism and Nineteenth-Century Fiction (review)". Victorian Studies 47, n. 3 (2005): 463–65. http://dx.doi.org/10.1353/vic.2005.0099.

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5

Ukić Košta, Vesna. "Irish Women’s Fiction of the Twentieth Century: The Importance of Being Catholic". ELOPE: English Language Overseas Perspectives and Enquiries 11, n. 2 (8 maggio 2014): 51–63. http://dx.doi.org/10.4312/elope.11.2.51-63.

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This paper explores the ways in which some of the best and most representative Irish women fiction writers of the twentieth century responded to the exigencies of Catholicism in their selected works. It also attempts to demonstrate how the treatment of Catholicism in Irish women’s fiction changed throughout the century. The body of texts that are examined in the paper span almost seventy years, from the early years of the independent Irish state to the turn-of-the-century Ireland, during which time both Irish society and the Irish Catholic Church underwent fundamental changes. How these authors tackle the relationship between the dominant religion and the shaping of woman’s identity, how they see the role of woman within the confines of Irish Catholicism, and to what extent their novels mirror the period in which they are written are the main issues which lie in the focus of the paper.

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Vejvoda, Kathleen. "Book Review: Anti-Catholicism and Nineteenth-Century Fiction". Christianity & Literature 55, n. 2 (marzo 2006): 285–89. http://dx.doi.org/10.1177/014833310605500211.

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7

Crowe, Marian. "Catholicism and Metaphor: The Catholic Fiction of David Lodge". Logos: A Journal of Catholic Thought and Culture 15, n. 3 (2012): 130–60. http://dx.doi.org/10.1353/log.2012.0020.

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8

Horn, Gerd-Rainer. "European Left Catholicism in the Long Sixties: Fact or Fiction?" Histoire@Politique 30, n. 3 (2016): 155. http://dx.doi.org/10.3917/hp.030.0155.

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9

Groppe, John D. "Anti-Catholicism and Nineteenth-Century Fiction by Susan M. Griffin". Newman Studies Journal 4, n. 1 (2007): 94–97. http://dx.doi.org/10.1353/nsj.2007.0010.

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10

Jasper, David. "The priest in the novels of Graham Greene". Theology 124, n. 2 (marzo 2021): 84–92. http://dx.doi.org/10.1177/0040571x21991744.

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The priestly figure in Graham Greene’s fiction may or may not wear a clerical collar. But through such characters salvation may be glimpsed not only through faith but through doubt and human weakness. Saints and sinners are not far apart. Pascal’s ‘wager’ is also ever present in these novels that reflect the ambiguities of Greene’s conversion to Roman Catholicism.

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Tesi sul tema "Catholicism - Fiction"

1

Keenan, Sean Eamon. "Fixity and fiction in James Joyce's prose". Thesis, University of Ulster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326307.

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2

Hohman, Xiamara Elena. "Transcending the “Malaise”: Redemption, Grace, and Existentialism in Walker Percy’s Fiction". University of Dayton / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272680647.

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3

Mikail, Abud Filho Régis. "Littérature et religion. Le modèle hagiographique chez Flaubert, Bloy et Huysmans". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040019.

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La crise traversée par l’Église à la fin du XIXe siècle se répand dans l’univers littéraire. Le rapport entre confession et esthétique s’instaure de manière distincte des romanciers catholiques de la première moitié du siècle : la transmission exemplaire de la foi à travers le discours religieux se confond avec la représentation de cette transmission elle-même par la littérature hagiographique. Ce renouvellement esthético-littéraire relativise et la fiction et l’hagiographie. Ainsi, chez Flaubert, Bloy et Huysmans, une sainteté se réclamant primitive et terrifiante bouleverse l’expression de l’art catholique accusé de mièvrerie. Des récits d’inspiration, d’intention ou de subversion hagiographique contestent également les représentations littéraires naturalistes et décadentistes. La réécriture de la sainteté côtoie le roman en transformation, de même que le personnage de fiction se rapproche souvent des saints. Le personnage-saint et le saint-personnage se situent donc dans une terrain indéfini entre récit romanesque et récit hagiographique. La confession personnelle d’écrivains comme Bloy et Huysmans invite à mieux examiner la subversion discursive, caractéristique du discours littéraire : la confession peut-elle être subversive malgré elle? Inversement, un récit structuré sur les modèles hagiographiques médiévaux de la Légende de saint Julien l’hospitalier révèlent qu’un certain respect de la forme n’implique pas en une profession de foi
The crisis the Catholic Church went through during the 19th century spread into the literary universe. The relation between faith and aesthetics establishes itself in a different way from the catholic novelists of the first half of the century: the exemplary transmission of faith through religious discourse mingles with the representation of this transmission itself through hagiographic literature. This literary and aesthetic renewal puts both fiction and hagiography into perspective. For instance, in the works of Flaubert, Bloy and Huysmans, a sanctity claiming itself to be both primitive and terrifying disrupts a catholic art accused of sentimentalism. Moreover, narratives of hagiographical inspiration, intention or subversion question literary representations of naturalism and decadentism. Rewriting sanctity is accomplished as a parallel to the transformations which affect the novel, whereas fictional characters are more closely represented in the manner of saints. The character as a saint and the saint as a character lay somewhere within an indefinite land between the narrative of the novel and the hagiographic narrative. The faith of writers such as Bloy and Huysmans calls for reflections on the discursive subversion, characteristic of the literary discourse: can faith be subversive in spite of its intentions? Inversely, a novel structured on the medievel hagiographic models of the Legend of saint Julien the Hospitaller reveals that a certain respect of the form does not necessarily imply professing one’s faith

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Forsyth, Michael. "Julia Kavanagh in her times : novelist and biographer, 1824-1877". Thesis, n.p, 1999. http://oro.open.ac.ukk/18817/.

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Blee, Jillian. "Giving the laity a voice through fiction : Irish Catholic Ballarat in 1875 as portrayed in The liberator's birthday". Thesis, Federation University Australia, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/164944.

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Ferretti, Sandra. "La narrativa breve de Carmen Laforet (1952-1954)". Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/130829.

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La tesis se centra en uno de los aspectos menos considerados de la escritora hasta ahora: su narrativa breve, escrita en un corto periodo de tiempo, entre 1952 y 1954, y bajo unas condiciones de espíritu que resultan perfectamente aislables del conjunto de su obra. En ella apreciamos la suave ironía con que tiñe sus narraciones, su reacción ante la belleza de la Naturaleza, su amor a la libertad y sobre todo la búsqueda de una bondad y verdad interior vinculada al amor y a la etapa religiosa vivida por la escritora en este periodo. En particular nos hemos centrado en los personajes femeninos de sus novelas cortas, pues al igual que ocurre en la mayor parte de su obra, son ellos los que aportan con mayor profundidad un conocimiento psicológico del ser humano. El análisis de su narrativa breve nos ha proporcionado fundadas bases para una interpretación más ajustada de la Carmen Laforet real, hasta hace poco reducida a su creación más inmortal, la frágil Andrea de Nada. Se ha demostrado cómo Carmen Laforet ha sido no solamente la autora de Nada, sino una valiosa escritora de novelas cortas y de cuentos, menos considerados por la crítica pero altamente representativos de su quehacer. Dicha narrativa breve la sitúa como una mujer de su época que, sin embargo, rehúye el compromiso ideológico o el realismo social, que se impone en los años cincuenta, para sumergirse en la búsqueda de una verdad humana que carece de color político y sí aporta, en cambio, una reflexión sobre la honestidad, la hipocresía, la ambición o la abnegación como hechos fundamentales en las vidas de los seres reales. Laforet es una excelente escritora de relatos breves a los que, sin embargo, ella no concede demasiada importancia. Su periodo de creación en este género es sumamente limitado, como se ha dicho. Nunca más vuelve a escribir narrativa breve, pero la novela corta le sirve para dar forma a sus nuevas creencias y necesidades religiosas. Y de ahí la aportación sutil de Laforet a una narrativa católica que en los años 50 ha tenido en ella y en su narrativa breve a una de sus más importantes representantes. La tesis ha abordado también diversos temas relacionados con la época de la posguerra, que sirven de telón de fondo en las novelas de Laforet como el hambre, las penurias, la miseria, la lucha por la supervivencia, la falta de medios, etc. Sus ideales resultan próximos a los ideales de San Francisco de Asís y que lamentablemente la crítica no valoró en su momento de manera oportuna, según creemos; las siete novelas cortas estudiadas – “El piano”, “La llamada”, “El viaje divertido”, “La niña”, “Los emplazados”, “El último verano” y “Un noviazgo” muestran prioritariamente temas como el desarrollo de la propia identidad, la autonomía personal, los valores cristianos y la represión social; algunas de sus narraciones breves realizan aportaciones importantes al tema del feminismo y de crítica social, presente en mucha de su obra. Aunque muy matizados por temas específicos de la religión católica como la caridad, el amor o el sacrificio, derivados de la propia conversión de la escritora en diciembre de 1951, no es nada difícil detectar la crítica social en los escritos breves de Carmen Laforet, aunque la mayoría de los expertos a menudo no hayan incidido en este particular. ¬La tesis se centra en las siete novelas cortas mencionadas, aunque mantiene correspondencias con su literatura cuentística y hace referencias a su narrativa.
The thesis centres on one of the author’s least recognised areas until now: her short stories, written in the brief period of time between 1952 and 1954, and under the spiritual conditions which appear as entirely distinct from those experienced in her main body of work. In this piece we can appreciate the smooth irony which runs through her narrative, her reaction towards the beauty of nature, her love of freedom and, above all, her search for righteousness and inner truth connected to the love and religious phase experienced by the writer during this period. In particular, we have focussed on the female characters in her short stories as it is those that demonstrate most profoundly the writer’s understanding of the human condition. It is shown that Carmen Laforet isn’t only the author of Nada but a valuable writer of novellas and short stories which are less well-known critically but highly representative of her craft. The thesis also approaches different related themes from the post-war era, that serve as a backdrop to the novels of Laforet alongside famine, scarcity, misery, the fight for survival, lack of means, etc. Her ideals surface as similar to those of St Francis of Assisi but regrettably this remained unnoticed by the critics of the time. The seven short stories studied – El piano, La llamada, El viaje divertido, La nina, Los emplazados, El ultimo verano and Un noviazgo primarily show themes like the development of one’s own identity, personal autonomy, Christian values and social repression; some of her short stories bring out important contributions on the theme of feminism and social criticism, and these are present in much of her work.

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7

Hohman, Xiamara Elena. "Transcending the "malaise" : redemption, grace, and existentialism in Walker Percy's fiction". Dayton, Ohio : University of Dayton, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272680647.

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Thesis (M.A. in English) -- University of Dayton.
Title from PDF t.p. (viewed 06/23/10). Advisor: Albino Carrillo. Includes bibliographical references (p. 72-75). Available online via the OhioLINK ETD Center.

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Prokisch, Peter. "Fanatics, Hypocrites, Christians - Katholiken als stereotype Romanfiguren bei Richardson, Lewis, Radcliffe und Maturin : Vorformen, Darstellung und Funktion /". Hamburg : Kovač, 2005. http://swbplus.bsz-bw.de/bsz121555038cov.htm.

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Butler, Erin. "Sister". 2021. https://scholarworks.umass.edu/englmfa_theses/139.

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When college ends and she has no plan, Anna stumbles her way into a convent, the last place she expected to find herself for the rest of her life. But convent life is not the escape she thought it might be, and before long, Anna is harassed by her anxiety and by a mysterious voice that invades her thoughts. Less than a year later, she is back at her childhood home, a place she thought she’d left forever. As she takes a job at her local parish and tries to rebuild a life she thought she had buried for good, Anna must come to terms with abuse in her past, with a family who refuses to acknowledge reality, and—perhaps—with a demonic battle she never asked for.

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Fanucchi, Sonia. "Realism and ritual in the rhetoric of fiction: anti-theatricality and anti-catholicism in Brontë, Newman and Dickens". Thesis, 2016. http://hdl.handle.net/10539/20798.

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A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements of Doctor of Philosophy, Johannesburg, 2016.
This thesis is concerned with the meeting point between theatre and religion in the mid-Victorian consciousness, and the paradoxical responses that this engendered particularly in the novels and thought of Dickens, Newman and Charlotte Brontë. It contributes to the still growing body of critical literature that attempts to tease out the complex religious influences on Dickens and Brontë and how this manifests in their fiction. Newman is a religious writer whose fictional treatment of spiritual questions in Callista (1859) is used as a foil to the two novelists. There are two dimensions to this study: on the one hand it is concerned with the broader cultural anti-Catholic mood of the period under consideration and the various ways in which this connects with anti-theatricality. I argue that in the search for a legitimate means of expressing religious sentiments, writers react paradoxically to the latent possibilities of the conventions of religious ceremony, which is felt to be artificial, mystical, transcendent and threatening, inspiring the same contradictory responses as the theatre itself. The second dimension of this study is concerned with the way in which these sentiments manifest themselves stylistically in the novels under consideration: through a close reading of Barnaby Rudge (1841), Pictures From Italy (1846), and Villette (1852), I argue that in the interstices of a wariness of Catholicism and theatricality there is a heightening of language, which takes on a ritual dimension, evoking the paradoxical suggestions of transcendent meaning and artificiality associated with performance. Newman’s Callista (1859) acts as a counterpoint to these novels, enacting a more direct and persuasive argument for the spiritual value of ritual. This throws some light on the realist impulse in the fiction of Brontë and Dickens, which can be thought of as a struggle between a language that seeks to distance and explain, and a language that seeks to perform, involve, and inspire. In my discussion of Barnaby Rudge (1841) I argue that the ritual patterns in the narrative, still hauntingly reminiscent of a religious past, never become fully embodied. This is because the novel is written in a style that could be dubbed “melodramatic” because it both gestures towards transcendent presences and patterns and threatens to make nonsense of the spiritual echoes that it invokes. This sense of a gesture deferred is also present in the travelogue, Pictures from Italy (1846). Here I argue that Dickens struggles to maintain an objective journalistic voice in relation to a sacramental culture that is defined by an intrusive theatricality: he experiences Catholic practices and symbolism as simultaneously vital, chaotic and elusive, impossible to define or to dismiss. In Villette (1852) I suggest that Charlotte Brontë presents a disjuncture between Lucy’s ardour and the commonplace bourgeoisie world that she inhabits. This has the paradoxical effect of revitalising the images of the Catholic religion, which, despite Lucy’s antipathy, achieves a ghostly presence in the novel. In Callista (1859), I suggest that Newman concerns himself with the ritual possibilities and limitations of fiction, poetry and theatre. These dramatic and literary categories invoke and are ultimately subsumed in Christian ritual, which Newman considers the most refined form of language – the point at which detached description gives way to communion and participation. Keywords: Victorian literature, Charles Dickens, Charlotte Brontë, John Henry Newman, ritual, religion, realism, theatricality, anti-Catholicism

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Libri sul tema "Catholicism - Fiction"

1

Henri-Joseph, Du Laurens. L'antipapisme révélé, ou, Les rêves de l'antipapiste: 1767. Paris: Points sur les i, 2010.

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2

Joachim, Hrsg :. Valentin, a cura di. Sakrileg: eine Blasphemie?: das Werk Dan Browns kritisch gelesen. M unster: Aschendorff Verlag, 2007.

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3

Andrews, Brindle Susan, Lademan Miriam Andrews, Houtman Jane Frances e Jiménez de Martínez, Luz María., a cura di. The caterpillar that came to church: A story of the Eucharist = La oruga que fue a misa : un cuento de la Eucaristía. Huntington, Ind: Our Sunday Visitor, 1993.

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4

Woodman, Thomas M. Faithful fictions: The Catholic novel in British literature. Milton Keynes [England]: Open University Press, 1991.

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John, Walsh. Some things which Catholics do not believe, or, Protestant fictions and Catholic facts: Lecture. 2^a ed. Toronto: Catholic Register Print, 1985.

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John, Walsh. Some things which Catholics do not believe, or, Protestant fictions and Catholic facts: Lecture. [Toronto?: s.n.], 1987.

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John, Walsh. Some things which Catholics do not believe, or, Protestant fictions and Catholic facts: Lecture. 2^a ed. [Toronto?: s.n.], 1985.

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8

Mariella, Gable. The literature ofspiritual values and Catholic fiction. Lanham, Md: University Press of America, 1996.

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Dickens, Charles. Barnaby Rudge: A tale of the riots of 'eighty. London: The Folio Society, 1987.

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Dickens, Charles. Barnaby Rudge: A tale of the riots of 'Eighty. London: The Folio Society, 1987.

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Capitoli di libri sul tema "Catholicism - Fiction"

1

Ostman, Heather. "Mysticism in Chopin’s Fiction". In Kate Chopin and Catholicism, 189–214. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44022-0_7.

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Ostman, Heather. "Social and Religious Critique and Transformation through the Short Fiction". In Kate Chopin and Catholicism, 45–86. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44022-0_3.

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Sage, Victor. "The Unwritten Tradition: Horror and the Rhetoric of Anti-Catholicism". In Horror Fiction in the Protestant Tradition, 26–69. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19432-2_2.

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Holland, Siobhán. "Re-Citing the Rosary: Women, Catholicism and Agency in Brian Moore’s Cold Heaven and John McGahern’s Amongst Women". In Contemporary Irish Fiction, 56–78. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230287990_4.

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Haggerty, George E. "The Horrors of Catholicism: Religion and Sexuality in Gothic Fiction". In Catholic Figures, Queer Narratives, 33–56. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230287778_3.

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O’Leary Anish, Beth. "“Good Catholic Radicals”: Harry Sylvester’s Moon Gaffney and Irish American Catholicism at Mid-Century". In Irish American Fiction from World War II to JFK, 99–116. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-83194-3_5.

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Murphy, James H. "Catholic Fiction". In The Oxford History of British and Irish Catholicism, Volume IV, 246—C13S8. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198848196.003.0014.

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Abstract This chapter surveys popular fiction written about and by Catholics in England and Ireland when the consumption and production of fiction rose dramatically. It selects a range of novels to explore authorial preoccupations in relation to Catholicism. Setting fiction at the time of the early Church or of the Reformation and Elizabethan Settlement enabled English authors to explore the nature of English identity, Church doctrine, and the question of Catholic loyalty to Crown and State. Notably, preoccupations did not include the Irish Catholic migrants. Irish Catholic fiction of the same era sought to counter the ways that Catholics were perceived in Britain and to assert Catholic respectability. Novelists who wrote for the Irish diaspora, however, advocated a more vigorous Catholicism and by the early twentieth century this trend had influenced fiction in Ireland too. By this time Catholic novelists became more focused on Catholicism’s response to the modern world.

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Miola, Robert S. "A Lament and Some Ballads". In Early Modern Catholicism, 172–79. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199259854.003.0026.

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Abstract These poems are of uncertain origin and authorship but express popular Catholic sentiments in the Tudor and Stuart periods. The ‘Lament ‘ mourns the 1538 destruction of the priory at Walsingham in Norfolk, site of a beloved shrine of Mary for generations of pilgrims. (Compare the contrary, cynical account of Erasmus, fiction). ‘Winter Cold into Summer Hot ‘ humorously and indignantly chronicles the deterioration of religious life in England under Protestantism.

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Foster, John Wilson. "‘Their Patience Folly?’: Catholicism and Irish Fiction". In Irish Novels 1890-1940, 114–36. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199232833.003.0005.

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Miola, Robert S. "Desiderius Erasmus". In Early Modern Catholicism, 41–45. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199259854.003.0002.

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Abstract Great Dutch humanist, scholar, and priest, Desiderius Erasmus (1459–1536) applied new philological methods to biblical texts, producing the Novum Instrumentum in 1516, an annotated Greek text of the New Testament with a revision of the Vulgate (the standard Latin translation by St Jerome). Erasmus diligently revised this work, Wnding many supporters in the Church, and many opponents, notably Gregory Martin, later translator of the Rheims New Testament (1582). Moreover, contributing to the great controversy over Luther’s doctrine of predestination, Erasmus aYrmed the freedom of the will in De libero arbitrio (On Free Will, 1524) and Hyperaspistes (1526). He wrote schoolbooks for Europe and urged reform of the clergy and of church practices (see fiction).

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