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Bibliografias temáticas / Barbers – Fiction

Literatura científica selecionada sobre o tema "Barbers – Fiction"

Autor: Grafiati

Publicado: 26 de julho de 2024

Última modificação: 27 de julho de 2024

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Artigos de revistas sobre o assunto "Barbers – Fiction"

1

Mack, Robert L. "Confronting the ‘Real’ Sweeney Todd: a Personal Journey of Discovery". Victorian Popular Fictions Journal 4, n.º 2 (2023): 136–45. http://dx.doi.org/10.46911/ukud3206.

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Robert L. Mack’s coda, a memoir in miniature, demonstrates why penny fiction should matter to global popular audiences today. Mack recovers an important moment in the history of the metafictional transmedia traditions that penny fiction generated: the 1979 appearance of Stephen Sondheim and Hugh Wheeler’s revolutionary Broadway operetta Sweeney Todd, the Demon Barber of Fleet Street, a Musical Thriller. With Sweeney Todd’s premiere, the murderous barber got his chance to go global and succeeded terrifically. Drawing upon journalism, archival evidence, and personal experience, Mack reconstructs that moment and considers how myths about Sweeney Todd’s origins have impacted our understanding of the historical past. Namely, since 1979, the greater number of spectators on both sides of the Atlantic appeared to remain convinced that the barber’s murderous history was nothing less than a matter of verified and verifiable historical record. Mack explains how that misapprehension arose and reflects upon his quest for the sources of the legend.

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Kyobutungi Tumwesigye, Alice Jossy. "Young Adult Vulnerabilities in the Fiction of a Ugandan Woman Writer". Global Research in Higher Education 5, n.º 1 (8 de março de 2022): p22. http://dx.doi.org/10.22158/grhe.v5n1p22.

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Questions of identity, power, autonomy and vulnerability carry a particular weight in cultures that have emerged from colonialism. Although few writers of fiction focus on the conflicts between African and European characters, a focus on power and marginalisation remains. One category in which this focus may be plainly seen is writing for and about young people. The study’s aim was to analyse young adult fiction written by a Ugandan female author, Barbara Kimenye to investigate this writing to find out how young adult vulnerability is depicted in literature. Although literature targeting young people in Uganda has flourished and though issues of limited representation have been scrutinised in literary studies, like gender discrimination, very limited attention has been accorded young adult representation in literature. This research analyses fiction written by a female author Barbara Kimenye to expand knowledge about the criticism of young adult representation in literature with particular focus on young adult vulnerability in an adult dominated world. The methodology was mainly qualitative research design, where a document analysis method was used to aid analysis and make critical appreciation of the fictional works. The study investigated the state of young adult characters in literature with special focus on their vulnerability.

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3

Ryan, Maureen. "Barbara Kingsolver's Lowfat Fiction:". Journal of American Culture 18, n.º 4 (dezembro de 1995): 77–82. http://dx.doi.org/10.1111/j.1542-734x.1995.1804_77.x.

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4

Chaparro Sainz, Ángel. "Mormon Marriage Is Also Terrestrial: An Study on Gender in Phyllis Barber's Raw Edges: A Memoir". Miscelánea: A Journal of English and American Studies 48 (7 de janeiro de 2014): 13–28. http://dx.doi.org/10.26754/ojs_misc/mj.20138826.

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Phyllis Barber was raised as a member of the Mormon Church. In her fiction and in her autobiographies this is an important element opening suitable realms to analyze her literature. Here I aim at analyzing her contribution to Mormon feminist tradition. In her latest autobiography, Raw Edges: A Memoir, Barber approaches marriage as an institution, helping to illustrate the relevance that certain gender roles still have within Mormon culture. Through the confession of her own failure, Barber echoes former references to penetrate into topics dealing with gender issues within Mormon culture.

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5

Altaf, Sana, e Aqib Javid Parry. "Nalo Hopkinson’s Midnight Robber: Blending technology and fantasy in a dystopian narrative". Technoetic Arts 22, n.º 1 (1 de abril de 2024): 133–44. http://dx.doi.org/10.1386/tear_00126_1.

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In the contemporary postmodern era, the boundaries that once rigidly separated well-established genres have become more fluid, resulting in what scholars Raffaella Baccolini and Tom Moylan call ‘genre-blurring’. This phenomenon of incorporating elements from diverse genres represents a challenge to dominant ideologies and expands the possibilities within fictional texts. The dystopian fiction written by feminist writers towards the end of the twentieth century and beyond significantly exemplifies this form of hybrid textuality. In doing so, these writers seek to renovate the dystopian genre by making it both formally and politically oppositional. This article aims to explore Midnight Robber (2000), a feminist dystopian novel by Nalo Hopkinson, a Jamaican–Canadian writer, to illustrate how the author manipulates the generic boundaries of science fiction, fantasy and mythology. By amalgamating Afro-Caribbean religious and cultural beliefs, mythical creatures and traditional knowledge systems with a technologically advanced future world, Hopkinson challenges the essentially White, Eurocentric model of dystopian fiction. The article will also examine how, as an Afrofuturist writer, Hopkinson attempts to challenge and subvert the patriarchal discourse of dystopian fiction, traditionally dominated by White male writers, through a strong Black female character, Tan-Tan, who seeks to resist the patriarchal structures governing her, and finally succeeds in emerging as a female leader figure. For this purpose, Barbara Creed’s insights into the monstrous-feminine are explored, introducing novelty into the discourse of feminist dystopia.

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6

Kaufman, Anthony. "The Short Fiction of Barbara Pym". Twentieth Century Literature 32, n.º 1 (1986): 50. http://dx.doi.org/10.2307/441306.

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7

Sturgess, Charlotte. "Visible difference : Gender as genre in Susan Swans The Wives of Bath". Recherches anglaises et nord-américaines 36, n.º 1 (2003): 91–98. http://dx.doi.org/10.3406/ranam.2003.1671.

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Through its play on the limits of fictional genre which underlines the constructedness of genre categories, The Wives of Bath envisages gender itself as an arbitrary construct. Through a series of inversions, crossings and diverse literary encodings the textual strategies at work in the narrative not only problematize the notion of literary genres, they also point to gender itself as a “fiction”. But The Wives of Bath goes further ; through its playing on the boundaries of representation, and its playing with categories of gender, it ironizes any possible unitary narrative of Canada’s national space. As Barbara Godard has stated, Canada as imaginary construct is the “Discourse of the Other”. The Wives of Bath seems, through its strategies, to bear out this statement ; that Canada breaks through any holistic version of nationhood itself, any containment in a “genre”.

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8

Ramírez, J. Jesse. "Keeping It Unreal: Rap, Racecraft, and MF Doom". Humanities 10, n.º 1 (28 de dezembro de 2020): 5. http://dx.doi.org/10.3390/h10010005.

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Focusing on the masked rapper MF Doom, this article uses Karen E. Fields and Barbara J. Fields’s concept of “racecraft” to theorize how the insidious fiction called “race” shapes and reshapes popular “Black” music. Rap is a mode of racecraft that speculatively binds or “crafts” historical musical forms to “natural,” bio-geographical and -cultural traits. The result is a music that counts as authentic and “real” to the degree that it sounds “Black,” on the one hand, and a “Blackness” that naturally expresses itself in rap, on the other. The case of MF Doom illustrates how racialized peoples can appropriate ascriptive practices to craft their own identities against dominant forms of racecraft. The ideological and political work of “race” is not only oppressive but also gives members of subordinated “races” a means of critique, rebellion, and self-affirmation—an ensemble of counter-science fictions. Doom is a remarkable case study in rap and racecraft because when he puts an anonymous metal mask over the social mask that is his ascribed “race,” he unbinds the latter’s ties while simultaneously revealing racecraft’s durability.

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9

Rodríguez-Salas, Gerardo. "Communitarian Theory and Andalusian Imagery in Carmel Bird’s Fiction. An Interview". IRIS, n.º 35 (30 de junho de 2014): 123–39. http://dx.doi.org/10.35562/iris.1803.

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Australian writer Carmel Bird writes fiction that, while being highly individual and varied, settles within the Australian traditions of both Peter Carey’s fabulism and Thea Astley’s humane wit. As William H. Wilde, Joy Hooton and Barry Andrews state (1994), Bird is a “witty writer with a wide but always highly original tonal range”, who “raises what is often potentially sinister or horrific to something approaching comedy. Disease, deaths and violence are staples in her fictional world, which has similarities with Barbara Hanrahan’s Gothic sensuality and feminist irony, although Bird’s deadpan humour is a distinctive, determining element”. The present interview focuses on an unexplored area in Bird—Andalusia, Spain—which, paradoxically, becomes the backcloth of some of her fiction—like the recent Child of the Twilight (2010)—and a prolific source of inspiration. The following pages explore Bird’s Andalusian/Spanish visions as regards nationalistic, religious, and cultural constructions. To that end, the theoretical communitarian discussion of figures like Ernest Gellner, Ferdinand Tönnies, Benedict Anderson, Jean-Luc Nancy and Maurice Blanchot will prove useful in the structural framework of this interview. Bird herself clarifies that her contribution is not offered from an academic perspective; she speaks about herself as a writer largely unaffected by academic bias. However, communitarian theorisation will prove useful in clarifying her depiction of nationalistic and religious values, while, in the process, she sheds some light on the slippery concept of “Australian writing” and the construction of Spanish cultural values from the perspective of an Australian writer. This interview offers a fresh rendition marked by the humorous, spontaneous and truthful tone that characterises Bird’s fiction.

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10

خليفة علي, صباح عطا الله, e زيد ابراهيم اسماعيل. "Barbara Kingsolver: Evaluating Her Contribution to the Eco-Feminist Novel". ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 1, n.º 7 (25 de novembro de 2019): 65–82. http://dx.doi.org/10.36473/ujhss.v1i7.982.

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Climate change, together with terrorism, economic depressions, and mass-destructive weaponry, is a source of international phobia for many people. The advancement in technology increases the competition among world powers and economic systems to develop their industrial enterprises. The smoke that emits from the factories, the pollution caused by the industrial projects, the excessive use of green gas result in the increase of global warming and have catastrophic effects on the ecosphere of the planet. Besides, man’s wrong practices even in agricultural matters are exhausting the natural resources of the lands, and they badly affect the ecological diversity and the wellbeing of the humans and non-humans alike. Contemporary feminist writers treat this international crisis as a priority and start to devote their writings to address ecological issues. These eco-feminists believe that their suffering from patriarchal oppression is not different from man’s exploitation of nature. Through their ecological activism, they endeavor to protect the environment and the planet from the selfish practices of the industrial companies. Barbra Kingsolver is one of the early pioneers of this emerging fictional subgenre. As previous studies of her works focus on individual novels, this study is an evaluation of her contribution to eco-feminist fiction in three major works: Animals Dream, Prodigal Summer, and Flight Behavior.

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Teses / dissertações sobre o assunto "Barbers – Fiction"

1

Barber, Jennifer P. "Indian chick-lit : form and consumerism /". Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/barberj/jenniferbarber.pdf.

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2

Ella, Jan-Erik [Verfasser], Brigitte [Akademischer Betreuer] Glaser, Brigitte [Gutachter] Glaser e Barbara [Gutachter] Schaff. "Through Fiction's Mirror : Abjects in Neo-Victorian Fiction / Jan-Erik Ella ; Gutachter: Brigitte Glaser, Barbara Schaff ; Betreuer: Brigitte Glaser". Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2018. http://d-nb.info/1166399788/34.

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3

Collu, Gabrielle. "The language of food in the fiction of Barbara Pym /". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60628.

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Descriptions of food are very prominent in Barbara Pym's twelve novels. They are used on one hand for purely comic purposes. But more significantly, they evolve into a language with a structure and set of rules. To expose the language of food inherent in Pym's fiction, I have employed a combination of social history, structural anthropology and semiology. Roland Barthes' application of structural linguistics to food, and his concern with its' symbolic nature hold particular bearing to this study. The language of food functions on three interrelated levels in Pym: a social level where groups are defined and hierarchised; a gendered level where the sexes are defined and differentiated; and a more personal level where an individual either communes or alienates him/herself from a given group. Identity, whether national, social, sexual or individual, is confirmed in relation to eating habits and roles surrounding food preparation and consumption. With the help of complex strategies of irony, Pym uses the language of food to signal an interest in social and gender reform by presenting the artificiality of social constructs and gender stereotypes.

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4

Altmaier, Catherine. "The Gospel of Cosmopolitanism: Conflict Resolution in Barbara Kingsolver's Fiction". TopSCHOLAR®, 2006. http://digitalcommons.wku.edu/theses/439.

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Despite Barbara Kingsolver's ability to create unique characters and storylines, two factors remain constant throughout each of her novels: strong female protagonists and conflict resolution. Though conflict exists in almost all fiction, the way that Kingsolver's characters deal with their situations often speaks louder than any other aspect of her writing. Moreover, though her characters often vary wildly from story to story, their methods of conflict resolution seem to undoubtedly connect them. Through her continuing desire to emphasize "the question of individualism and communal identity," {Reading Group Guides) Kingsolver often promotes the ideas of cosmopolitanism, which have recently been articulated by Kwame Anthony Appiah in his book Cosmopolitanism: Ethics in a World of Strangers. Appiah argues that cosmopolitanism can be represented by two main ideas: "One is the idea that we have obligations to others, obligations that stretch beyond those to whom we are related by the ties of kith and kind, or even the more formal ties of a shared citizenship," while the other is "that we take seriously the value not just of human life but of particular human lives, which means taking an interest in the practices and beliefs that lend them significance" {Cosmopolitanism xv). Though Appiah presents a compelling rationale for cosmopolitanism in postcolonial international relations, Kingsolver applies the same theories not only to global relationships but to personal conflict as well. While each of Kingsolver's novels could be explored for the theories of cosmopolitanism they demonstrate, The Poisonwood Bible and Prodigal Summer provide the best foundation for an examination of their broad applications of cosmopolitanism. Within The Poisonwood Bible, Orleanna, Leah, Rachel, and Adah Price are forced to deal with the international issues concerning the United States and the Congo, which directly affect their lives, as well as personal conflicts that range from quarrelling sisters to death and divorce. Throughout each struggle they face, they regularly apply at least one aspect of cosmopolitanism. Moreover, their most effective moments of conflict resolution come when they more precisely adhere to the tenets of cosmopolitanism. In Prodigal Summer, however, Kingsolver is primarily exploring the use of cosmopolitanism in more personal matters through the story of Lusa Landowski Widener. Though Lusa is not involved with any kind of international politics, it is the ideologies behind cosmopolitanism that allows her to reclaim her life after the loss of her husband while taking responsibility for her choices and becoming more accepting of those she does not understand. Appiah argues that, "A tenable global ethics has to temper a respect for difference with a respect for the freedom of actual human beings to make their own choices" ("Case" 30). Though Kingsolver would agree, she would further contend that such an idea should be more than a doctrine of "global ethics." Instead, cosmopolitanism should be applied to common, every day decisions in order to make greater change in the world. In The Poisonwood Bible and Prodigal Summer, Kingsolver demonstrates the efficacy of such an application of cosmopolitanism.

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5

Ernzen, Billey Annik. "L 'Image de la Révolution française dans les oeuvres de fiction de Barbey d'Aurevilly". Caen, 1992. http://www.theses.fr/1992CAEN1094.

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Fils de ceux qui ont vu la revolution francaise, barbey d'aurevilly dans sa vie d'homme jeune essaie de s'adaper a son epoque pour se preparer a j0uer un role. Il eprouve un relatif enthousiasme en fevrier 1848, mais de le mois suivant acheve sa breve experience politique, investit dans l'ecriture son besoin d'agir et reve l'histoire dans ses oeuvres de fiction. Il est possible d'y saisir une image de la revolution francaise (vue du cote chouan) que barbey construit grace a son heritage familial et a la tradition orale experimentee dans son enfance. Par un procede de ricochet dans les structures des oeuvres et un jeu de narrateurs, il recree, pour son lecteur, sa propre experience d'une relation privilegiee et unique a l'histoire. Dans ce dessein, l'ensorcelee occupe une place de choix parce qu'elle est la seule oeuvre de barbey dont la structure interne s'orgaise a partir de l'histoire en prenant comme temps fondateur la revolution francaise. Par ce biais, le roman prend une dimension mythique et par l'intermediaire de ses hors-textes : de marie hecquet a louis tainnebouy, il montre l'evolution de ma paysannerie dans la premiere partie du xixe siecle. La comparaison avec les romans chouans de balzac et de hugo permet de mieux cerner l'originalite de barbey et de comprendre que l'oeuvre aurevillienne ne chante pas le regret d'un monde passe, mais s'inscrit dans les combats du xixe siecle. En particulier, les differentes revolutions de 1830, mais surtout de 1848 et la commune de 1871 provoquent cette ecriture de l'image de la grande revolution de 1789
The heir of a generation that witnessed the french revolution, barbey d'aurevilly, as a young man, makes an effort to adapt to the times, to be able to play a role. He is relatively enthusiastic in february 1848, but his brief political career only lasts one month. He thereafter puts all his energy into his writing and dreams history in his works of fiction, where it is possible to find a picture of the french revolution (as seen from the chouan or anti-revolutionary side). Barbey draws this picture from his family heritage and the oral tradition he remembers from his childhood. By means of a crossreference structural system used in his different novels, barbey re-creates for the reader his own personal experience of a special and unique relationship with history. In this scheme, the novel entitled "l'ensorcelee" occupies a special because it is the only book by barbey in which the internal structure is organized around history, taking the french revolution as its time-setting. In this fashion, the novel takes on a mythical dimension, and using other documents, the author sketches the evolution of the french peasantry in the first half of the 19th century. Comparison with the chouan novels of balzac and hugo allows us to better indicate the originality of barbey and to understand that his work is not a nostalgic song of the past, but is definitely involved in the struggles of the nineteenth century. The revolution of 1830 and specially that of 1848 and the commune of 1871 were particularly responsible for this pictorial writing of the great revolution of 1789

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6

Shields, Christopher Macdonell. "'A man needs meat' : food and gender in the fiction of Barbara Pym". Thesis, University of Edinburgh, 1999. http://hdl.handle.net/1842/27378.

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This thesis examines Barbara Pym's treatment of a critically-documented theme, food, as it intersects with gender within her oeuvre. By mapping the subversive quality that her fiction achieves through the ironic exposition of cultural myths relating to food and its gender implications, it offers an alternative critical perspective on Pym, formulated in opposition to the traditionalist hegemony that seeks to 'protect' her from feminists. The study begins by exploring the historical and material conditions of Pym's rejection and 're-discovery', and the invention of her reputation by her literary guardians, in order to identify the subtleties of Pym's political sensibility and to provide a feminist-cultural theoretical reading of it. As Pym's life had an immediate and constitutive effect on the form and content of her work, Chapter 2 examines archival material which forms the basis of a psycho-sexual reading of her personal relationship to food, particularly as it symbolises or substitutes for desire. Chapters 3 and 4 provide close readings of her novels, examining the relationship ofPym's women and men to food, revealing how the dialogue between women and food figures as a metonym of desire, and is often the source of abjection, while for men food acts as both sexual metaphor and a metonymic site of power. These chapters are developed through a feminist socio-anthropological filter, offering an overview of foodway rules as they encode gender conventions and their supporting mythologies. This informs an analysis of Pym's fiction that considers how she chronicles English middle-class 'tribal customs' contemporary with her fifty years of writing, based upon the evidence of her familiarity with anthropological theory and technique. The inquiry into the thematic importance of food in Pym's fiction reveals how she ironises the cultural myths which mark gender difference and support a gender hierarchy. Since it engages with contemporary critical debate about and within feminist literary theory and gender studies, it offers both a much-needed re-evaluation of Pym's texts and a critical revision of what does and should comprise a feminist canon.

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7

Went, Cathy. "Seeking the sanctuary : the garden in the fictions of Barbara Hanrahan /". Title page, contents and introduction only, 1996. http://web4.library.adelaide.edu.au/theses/09AR/09arw477.pdf.

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8

Gorton, Ceri Martha. ""The things that attach people" : a critical literary analysis of the fiction of Barbara Kingsolver". Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/10758/.

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This is the first full-length scholarly work dedicated to the fiction of Kentucky-raised feminist activist and trained biologist Barbara Kingsolver. Interrogating the political efficacy of the work of an author who proclaims that art “should be political” and that “literature should inform as well as enlighten”, this thesis explores the ways in which Kingsolver positions herself variously as an environmentalist, liberal, communitarian, feminist and agrarian. It unpacks the author’s issues-based approach to writing fiction and its effect on her commercial popularity and through close readings of her fiction provides an assessment of this popular and critically acclaimed contemporary American writer. This study maps the oeuvre of a writer who has achieved critical success in the form of Pulitzer nominations, American Booksellers Book of the Year awards, a National Medal for Arts, and commercial success in the form of bestselling novels and even non-fiction works – not to mention the populist accolade of being selected as an Oprah’s Book Club author. It analyses tropes, techniques and tensions in Kingsolver’s novels and short stories published between 1988 and 2001, namely The Bean Trees (1988), Homeland and Other Stories (1989), Animal Dreams (1990), Pigs in Heaven (1993), The Poisonwood Bible (1998), and Prodigal Summer (2001). Rather than act as an introductory survey, this assessment posits that there exists a difficult but fruitful tension between writing fiction for readers and writing to a political agenda. Kingsolver promotes both of these through her narrative strategies and preoccupations. In the end, I argue that Kingsolver’s pursuit of popular appeal, far from compromising her politics, is a political strategy in itself.

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Phillips, Rebecca S. "The emerging female hero in the fiction of Alice Walker, Ntozake Shange, Ursula Le Guin, and Barbara Kingsolver". Morgantown : [West Virginia University Libraries], 1998. http://157.182.199.25/etd/templates/showETD.cfm?recnum=115.

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Thesis (Ph. D.)--West Virginia University, 1998.
Title from document title page. Document formatted into pages; contains v, 183 p. Vita. Includes abstract. Includes bibliographical references (p. 174-182).

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10

Schmitt, Maud. "Le récit apologétique laïc : Barbey d’Aurevilly, Bloy, Bernanos". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040149.

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Cette thèse se propose d’étudier comment, dans un contexte postrévolutionnaire de déchristianisation et de recul des pratiques religieuses, des écrivains catholiques, s’affranchissant de la tutelle de l’Église, s’octroient le magistère ecclésial et confient à la littérature – en tant qu’œuvre de fiction et d’imagination – la mission de renouveler le discours apologétique. Barbey d’Aurevilly, Bloy et Bernanos s’inscrivent ainsi dans le sillage de Chateaubriand, qui opéra le premier, avec le Génie du Christianisme, ce renversement fondateur. Les trois écrivains réinvestissent alors une forme rhétorique ancienne : celle de l’exemplum. La première partie de ce travail s’attache à en retracer les évolutions, en prêtant attention aux transformations qu’il subit au moment de sa christianisation, mais aussi à la continuité qui permet, de l’exemplum aristotélicien à l’histoire tragique, de mettre au jour sa structure constante. Les parties suivantes s’intéressent à la manière dont Barbey, Bloy et Bernanos construisent le récit pour obtenir la conversion du lecteur : la seconde partie s’intéresse aux procédures d’authentification de la fiction ; la troisième partie a pour objet la mise en place du dispositif figural permettant aux écrivains de relever le défi de l’indicible divin. La quatrième et dernière partie étudie les moyens mis en œuvre pour agir sur le lecteur, et modifier effectivement son attitude en le poussant à la pénitence
This thesis aims to study how, in a post-revolutionary context of dechristianization, some Catholic writers set free from the Church authority and enable literature itself (as a work of fiction and imagination) to renew the apologetic discourse. Barbey d’Aurevilly, Bloy and Bernanos continue the founding shift in perspective that Chateaubriand started with the Génie du christianisme. These three writers use an ancient rhetoric narrative form called the exemplum. The first part of this work focuses on the evolutions of this form, and more specifically on the metamorphosis caused by its Christianization; but it also highlights its constant structure, from its theorization by Aristotle, until its latest use by the authors of “histoires tragiques”. The next three parts of the thesis deal with the way Barbey, Bloy and Bernanos conceive their narrative in order to obtain the religious conversion of their reader. The second part shows how the writers authenticate fiction; the third part focuses on the way they react to the difficulty of naming the divine: the authors resort to the figuration of this inexpressible object. Finally, the fourth part studies the means these narratives use to produce an effect on their readers, and make them actually change their moral behavior

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Mais fontes

Livros sobre o assunto "Barbers – Fiction"

1

Johnson, Arlen. Alaska barber tales: As only your Alaskan barber can tell them. Anchorage, Alaska: Dixieland Pub., 1993.

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2

Ruediger, Beth. The barber of Bingo. Kansas City: Andrews and McMeel, 1996.

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3

Glass, Rodge. Hope for newborns. London: Faber and Faber, 2008.

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4

Lindsay, Douglas. The cutting edge of Barney Thomson. Inverness: Long Midnight, 2003.

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5

Inui, Eriko. Barubaru-san. Tōkyō: Fukuinkan Shoten, 2008.

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6

Pellerin, Fred. De peigne et de misère. Ville Saint-Laurent (Québec): Sarrazine Éditions, 2013.

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7

Lindsay, Douglas. The cutting edge of Barney Thomson. Inverness: Long Midnight, 2003.

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8

Gutman, Dan. Funny Boy versus the bubble-brained barbers from the Big Bang. New York: Hyperion Books for Children, 2000.

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9

C, Sproul R. The barber who wanted to pray. Wheaton, Ill: Crossway, 2011.

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10

Mitchell, Margaree King. Uncle Jed's barbershop. New York: Scholastic Inc., 1993.

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Capítulos de livros sobre o assunto "Barbers – Fiction"

1

McFarland, Douglas. "Genre and Charisma in Shaw’s Major Barbara". In Screening Modern Irish Fiction and Drama, 73–88. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40928-3_4.

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2

Stafford, Jane. "Romance in the Backblocks in New Zealand Popular Fiction, 1930–1950: Mary Scott’s Barbara Stories". In Popular Fiction and Spatiality, 63–78. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-56902-8_5.

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3

Barlow, Damien. "“The Sex Thing Is Strange”: The Queerness of Barbara Hanrahan’s Fiction". In Claiming Space for Australian Women’s Writing, 227–41. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50400-1_13.

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4

Halperin, John. "Barbara Pym and the War of the Sexes". In Jane Austen’s Lovers and Other Studies in Fiction and History from Austen to le Carré, 201–14. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19332-5_14.

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5

Joannou, Maroula. "‘England’s Jane’: The Legacy of Jane Austen in the Fiction of Barbara Pym, Dodie Smith and Elizabeth Taylor". In Uses of Austen, 37–58. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137271747_3.

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6

Miller, Toby. "39/Thirty-Nine Stepsto ‘The Borders of the Possible’ by Alfred Hitchcock, Amateur Observer". In Spyscreen, 49–62. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198159520.003.0003.

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Abstract That is the way the newspapers talk about the world. These actual words were splashed across the StaronAugust 29,1938....Of course, that is assuming that Britain, and the rest of Europe, really were at that time ‘tensely watching’. But were they? The first of these quotations details a shift in discourse between fiction and fact of the kind mentioned in Chapter 1. This transformation happened because Le Queux claimed his novel was founded in fact, that thousands of Germans were ‘planted’ as barbers and waiters across the Edwardian Jerusalem.

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7

Ryan, Susan. "Blurring Lines and Intersecting Realities in Barbara Kopple’s Fictional Work". In ReFocus: The Films of Barbara Kopple, 159–77. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439947.003.0010.

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In addition to Barbara Kopple’s recognized contributions to documentary filmmaking, she directed several fictional works for both television broadcast and theatrical release. Although she often refers to herself as a director of both non-fiction and fiction, since both are important to her, very little critical attention has been paid to her fictional work such as the television episodes she directed for Homicide: Life on the Street, the PBS production Keeping On (1983), based on a screenplay by Horton Foote, and the independent feature Havoc (2005). This chapter examines the ways that she uses documentary techniques associated with cinema verite to establish a sense of place, character, realism, and social engagement within fictional stories. Rather than see her fictional work as an addendum to her acclaimed documentaries, the chapter argues that there is a continuum in which dramatic form and documentary practice inform one another as part of her style and approach to filmmaking.

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O'Donnell, Angela Alaimo. "Race, Politics, and the Double Mind: Flannery’s Correspondence versus O’Connor’s Fiction". In Radical Ambivalence, 36–69. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823288243.003.0003.

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Chapter, 2, “Race, Politics, and the Double Mind: Flannery’s Correspondence versus O’Connor’s Fiction,” provides necessary background for the origins of O’Connor’s ideas about race. It focuses on concepts of race O’Connor inherited, challenges to those ideas she may have encountered going to graduate school in Iowa and living in New York, and O’Connor’s response to the events of the Civil Rights movement. This chapter includes discussion of O’Connor’s correspondence, especially the letters exchanged between O’Connor and Maryat Lee and between O’Connor and Elizabeth Hester (both published and unpublished) and considers the light they shed on O’Connor’s attitudes. In assessing the inconsistency evident in O’Connor’s discussion of race in the letters and in the stories, the chapter includes discussion of speech act theory, particularly Barbara Herrnstein Smith’s differentiation between “natural” and “fictive” discourse. These considerations serve as foundation for an analysis of O’Connor’s treatment of race in some of her early stories, including “The Geranium” (reprise), “The Barber,” “Wildcat,” and “The Coat.”

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9

Horner, Avril. "Spies, lies and fictions". In Barbara Comyns. Manchester University Press, 2024. http://dx.doi.org/10.7765/9781526173751.00013.

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"The Handoff". In Every True Pleasure, editado por John Pierre Craig, 79–86. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469646800.003.0008.

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In The Handoff, a flash fiction piece by John Pierre Craig, the narrator Bobby, a sixteen-year-old working in a barber shop, glimpses the matter-of-fact queerness of two soldiers, which suggests to him a way of being and possible future for himself.

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