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Artigos de revistas sobre o assunto "Jordan – Fiction"
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Berrebbah, Ishak. "Understanding the Function of Empathy through Laila Halaby’s West of the Jordan." Prague Journal of English Studies 10, no. 1 (2021): 75–90. http://dx.doi.org/10.2478/pjes-2021-0005.
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Abstract Arab American fiction has received great attention in the post-9/11 period. This ethnic literature has been put under a critical lens due to the aspects that shape it and the issues discussed in it. One of the main objectives of Arab American fiction is to bridge cultural differences and appeal to its readers, both Arabs and non-Arabs. This particular objective is achieved by the authors’ willingness to trigger empathetic engagement with their characters. As such, this paper looks at how Laila Halaby’s West of the Jordan (2003) functions in accordance with the poetics of empathy. In other words, the aim of this paper is to show how fiction appeals to its readers through empathy and how empathetic engagement sustains the characters-readers connection, taking West of the Jordan as a literary example. This paper suggests that empathy in fiction is multi-layered and serves different purposes. The arguments are based on a conceptual framework supported by scholarly perspectives of prominent critics and theorists such as Chielozona Eze, Heather Hoyt, and Suzanne Keen, to name just a few.
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Hovind, Jacob. "The Other Book: Bewilderments of Fiction by Jordan Stump." French Review 86, no. 4 (2013): 834–35. http://dx.doi.org/10.1353/tfr.2013.0389.
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Chouinard, Alain. "Water-sites in the Fiction and Cinema of Neil Jordan." Wasafiri 25, no. 2 (2010): 73–77. http://dx.doi.org/10.1080/02690051003652025.
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Bastos da Silva, Jorge. "Living in the Sunken Place: Notes on Jordan Peele’s ”Get Out” as Gothic Fiction." Lublin Studies in Modern Languages and Literature 43, no. 2 (2019): 125. http://dx.doi.org/10.17951/lsmll.2019.43.2.125-133.
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<p>The gothic imagination often expresses a sense of the instability and/or vulnerability of human identity, bearing either on specific individuals or on the species as a whole. The present article examines the 2017 film <em>Get Out</em>, written and directed by Jordan Peele,<strong> </strong>in order to highlight the ways in which its exploration of the abovementioned topic relates to the tradition of the gothic as it is recognisable in literary texts dating from as far back as the eighteenth century. Relevant titles include Walter Scott’s <em>Count Robert of Paris</em> and Robert Louis Stevenson’s <em>Strange Case of Dr Jekyll and Mr Hyde</em>, as well as examples from film.</p>
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Govan, Sandra Y. "Alice Childress's Rainbow Jordan: The Black Aesthetic Returns Dressed in Adolescent Fiction." Children's Literature Association Quarterly 13, no. 2 (1988): 70–74. http://dx.doi.org/10.1353/chq.0.0285.
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Kabatek, Johannes. "Isolde J. Jordan,Characteristics and Functions of Direct Quotes in Hispanic Fiction. A Linguistic Analysis." Zeitschrift für romanische Philologie (ZrP) 120, no. 1 (2004): 218–20. http://dx.doi.org/10.1515/zrph.2004.218.
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Craven, Alice Mikal. "Horror and Loss in Samuel Fuller's Shock Corridor and Jordan Peele's Get Out." Black Camera 15, no. 1 (2023): 189–206. http://dx.doi.org/10.2979/blackcamera.15.1.14.
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Abstract: Samuel Fuller's Shock Corridor (1963) and Jordan Peele's Get Out (2017) were both created during dreadful points in America's history. But Fuller hopes his film will be seen as science fiction as opposed to real life as he states in his autobiography of 2002. Peele attests wisely that Fuller's hope will never be fulfilled. Both works, though filmed in different times, show a troublesome world. They both depict a fragile America. Both protagonists had a sharper eye or were better witnesses to their worlds. A sharper vision is to be valued. Johnny of Shock Corridor is a journalist delving into the dangers of a mental institution. Chris, a photo fan, in the end comes to his close vision that he does not belong in the world of the film Get Out . The fear of loss exists in both Fuller and Peele. This article explores how these two films reveal the fragility of America.
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Iqbal, Nasir, Umar Hayat, and Muhammad Asif Nadeem. "The Ethos of War Literature in For Whom the Bell Tolls." Global Language Review VI, no. I (2021): 254–63. http://dx.doi.org/10.31703/glr.2021(vi-i).28.
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The aim of this research paper is to demonstrate that Hemingway's work, ‘For Whom the Bell Tolls’ to show commitment to representing the war literature in which he realistically depicts the war scenes and the crippling impact of violence upon the individuals. This research is qualitative research carried out within the framework of theory, fiction, and history. We have deeply and analytically studied the text and marked the relevant portions. After many close readings and intensive study of the text, the relevant textual evidence was located, marked, and extracted. In 'For Whom the Bell Tolls, Hemingway enthusiastically depicts the heroic actions of Robert Jordan, the American protagonist, fighting for the Spanish cause and the other loyalists who were engaged in resisting fascist aggression against the democratic setup.
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King, Andrew. "THE SYMPATHETIC INDIVIDUALIST: OUIDA'S LATE WORK AND POLITICS." Victorian Literature and Culture 39, no. 2 (2011): 563–79. http://dx.doi.org/10.1017/s1060150311000143.
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For many years, the novels of Ouida (Maria Louise Ramé, 1839–1908), were rejected as offering nothing but commercially valuable “voluptuous daydreams” (Leavis 164) that catered to “the degenerate taste of the new reading public of the commercial middle class” (Elwin 282). Since the late 1980s, however, they have been read with renewed interest. Ouida has come to be recognised as a “forgotten mother” of the 1890s aesthetic movement (Schaffer, Female Aesthetes and “Origins”); as a significant player on the anti–feminist side in the New Woman debates of the 1890s (Gilbert); and, with seeming paradox, as a writer keen to explore sexual transgression (Jordan “Writings” and “Enigma”; Schroeder “Feminine”). While there has been a recent monograph on Ouida's fiction (Schroeder and Holt), her journalism remains largely ignored. In 1882, Ouida began to write literary criticism together with analyses and commentaries on the politics of the state and the organisation of society for several journals, including the Gentleman's Magazine, the Fortnightly Review, the Westminster Review, the North American Review and the Italian Nuova Antologia. This article examines Ouida's late journalism, with some adversion to her late fiction, in an attempt to establish her core set of political values at this time.
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Tomas Reed, Conor. "The Early Developments of Black Women’s Studies in the Lives of Toni Cade Bambara, June Jordan, and Audre Lorde." Anuario de la Escuela de Historia, no. 30 (November 10, 2018): 45. http://dx.doi.org/10.35305/aeh.v0i30.249.
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<p>This article explores the pedagogical foundations of three U.S. Black women writers—Toni Cade Bambara, June Jordan, and Audre Lorde—widely recognized as among the most influential and prolific writers of 20th century cultures of emancipation. Their distinct yet entwined legacies—as socialist feminists, people’s poets and novelists, community organizers, and innovative educators—altered the landscapes of multiple liberation movements from the late 1960s to the present, and offer a striking example of the possibilities of radical women’s intellectual friendships. The internationalist reverberations of Bambara, Jordan, and Lorde are alive and ubiquitous, even if to some readers today in the Caribbean and Latin America, their names may be unfamiliar.<a title="" href="file:///C:/Users/natal/Documents/MEGA/1-REVISTAS/Anuario/Anuario%2030-2018/Dossier/02%20Articulo%20Conor.docx#_ftn1"><sup><sup>[</sup></sup></a></p><p>Bambara’s fiction centered Black and Third World women and children absorbing vibrant life lessons within societies structured to harm them. Her 1980 novel, The Salt Eaters, posed the question - “are you sure, sweetheart, that you want to be well?” -to conjoin healing and resistance for a new embattled generation under President Reagan’s neoliberal shock doctrines that were felt worldwide. June Jordan’s salvos of essays, fiction, and poetry -including Things That I Do in the Dark, On Call, and Affirmative Acts - intervened in struggles around Black English, community control, police violence, sexual assault, and youth empowerment. Audre Lorde’s words are suffused across U.S. movements (and, increasingly, in the Caribbean and Latin America)- on signs, shirts, and memes, at #BlackLivesMatter and International Women’s Strike marches. Your silence will not protect you. The master’s tools will never dismantle the master’s house. Revolution is not a one-time event. However, her voluminous legacy may risk becoming a series of slogans, “the Audre Lorde that reads like a bumper sticker.”</p><div><br clear="all" /><hr align="left" size="1" width="33%" /><div><p> </p></div></div>
Teses / dissertações sobre o assunto "Jordan – Fiction"
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Al-Qasem, Ruby. "True Selves: Narrative Distance in Stories of Fiction and Nonfiction." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12069/.
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True Selves: Narrative Distance in Stories of Fiction and Nonfiction consists of a scholarly preface and four creative works. The preface discusses narrative distance as used in both fiction and nonfiction, and as compares to other narrative agents such as point of view, especially in contemporary creative writing. The selection of stories examines relationships, especially familial, and themes of isolation, community, and memory. Collection includes two chapters of a novel-in-progress, Fences, short fiction story "Trees and Furniture," and creative nonfiction essays, "Floating" and "On the Sparrow."
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Cata, Zolani Theo. "Ukungquzulana lwenkcubeko yemveli neyasentshona kwi-ingqumbo yeminyanya / ukuba ndandazile." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53207.
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Text in Xhosa.<br>Thesis (MA)--University of Stellenbosch, 2002.<br>ENGLISH ABSTRACT: This study explores the cultural conflict between the Western and African cultures in
two Xhosa novels. The two novels investigated in this study are Ingqumbo
yeminyanya by A.C. Jordan and Ukuba ndandazile by W.K. Tamsanqa. We
concentrate on the two older Xhosa novels with the aim to find out how they deal with
the cultural conflict arising from western and traditional Xhosa life systems.
Chapter 1 of the study presents the aims of the study. Chapter 2 presents theoretical
underpinnings of literature and culture as the theoretical framework of the study. In
Chapters 3 and 4, two Xhosa novels are analysed, one in each chapter.
It is found that conflict in Ingqumbo yeminyanya and Ukuba ndandazile, results
from western and traditional Xhosa value systems that co-exist. The characters in the
novels belong to each camp and have strong views about the other's value system.
The protagonists of both novels adhere to the western culture, and they live in their
community with antagonists who cherish their traditional Xhosa lifestyle. The
traditional people are content with their style of life, they are dissatisfied by the
westernised life of their offspring who have become alien and who despise and look
down upon their own Xhosa tradition and custom. A major problem in the novels is
that the westernised protagonists are a few educated royal leaders who have to lead
the traditional people they despise. Yet because of the majority of the traditionalists,
the traditional Xhosa life exerts so much force on the lives of the few educated
protagonists such that they reach tragic ends. The conclusion that can be made
about the tragic end of the characters in both novels is that it results from the failure
of the intolerance of the western and traditional value systems.<br>AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die kulturele konflik tussen die Westerse en Afrika-kulture
in twee novelles. Die twee novelles wat ondersoek word is Ingqumbo yeminyanya
van A.C. Jordan en Ukuba ndandazile van W.K. Tamsanqa. Daar word
gekonsentreer op hierdie twee ouer novelles met die doelom te bepaal hoe kulturele
konflik hanteer word wat veroorsaak word deur die verskille tussen westerse en
tradisionele Xhosa leefwyses.
Hoofstuk 1 van die studie bied die doelstellings en afbakening van die
navorsingsonderwerp. Hoofstuk 2 bied die teoretiese grondslae van die interaksie
tussen letterkunde en kultuurondersoek wat die teoretiese raamwerk vorm van die
studie. In hoofstukke 3 en 4 word die Xhosa novelles ontleed.
Daar word bevind dat konflik in Ingqumbo yeminyanya en Ukuba ndandazile
veroorsaak word deur westerse en tradisionele Xhosa waardesisteme wat naas
mekaar bestaan. Die karakters in die novelles verteenwoordig elk van hierdie kante,
en het sterk sieninge oor die ander se waardesisteem. Die protagoniste in beide
novelles volg die westerse kultuur, en hulle leef in hulle gemeenskap met antagoniste
wat die tradisionele Xhosa lewenswyse volg. Dié tradisionele mense is tevrede met
hulle leefwyse, en is ontevrede oor die verwesterse lewe van hulle kinders wat
vervreemd geraak het, en wat neerkyk op die Xhosa tradisies en gewoontes. 'n Groot
probleem in die novelles is dat die verwesterse protagoniste in paar opgevoede
koninklike leiers is, wat die tradisionele mense moet lei vir wie hulle verag. Vanweë
die meerderheid tradisionele mense, oefen aspekte van die tradisie te veel druk uit
op die enkele opgevoede protagoniste en laasgenoemde het 'n tragiese dood. Die
gevolgtrekking kan gemaak word uit die tragiese dood van die protagonis karakters
in beide novelles dat dit die resultaat is van onverdraagsaamheid van westerse en
tradisionele waardesisteme.<br>XHOSA: Olu phando lumalunga ngokungquzulana kwenkcubeko yaseNtshona neyemveli kwiinoveli
ezimbini ezibhalwe ngababhali abadumileyo ekubhaleni iincwadi zamabali esiXhosa. Ezi
noveli zolu phando nababhali bazo yi - Ingqumbo yeminyanya ngokubhalwa A. C.
Jordan. Eyesibini ngu - Ukuba ndandazile ngokubhalwa ngokuka W. K. Tamsanqa. Olu
phando luqwalasela kwezi noveli zindala ukuze lubone ukuba ziwuxukushe njani
umbandela wongquzulwano Iwenkcubeko yaseNtshona neyemveli yamaXhosa.
Isahluko 3 sithetha ngokuza kuqhubeka kolu phando. Isahluko 2 sidandalazisa
amabakakala engcingane oluncwadi., nenkcubeko, nto leyo ebonanakalisa ubume. bolu -
phando. Kwisahluko 3 kunye no 4, kuhlalutywa iinoveli ezimbini zesiXhosa. Ingqumbo
yeminyanya kunye no - Ukuba ndandazile kwisahluko 4.
Kuyafumaniseka ukuba ungquzulwano kwi - Ingqumbo yeminyanya no - Ukuba
ndandazile Iwenziwe kukudibana kwenkcubeko yaseNtshona neyemveli. Abalinganiswa
bamacala omabini baye banezinye iingqondo ezingahambelaniyo nelinye icala.
Abalinganiswa abazintloko bezi noveli bakholelwe kwinkcubeko yaseNtshona, noxa
bekhokela isizwe sabo sabantu benkcubeko yemveli. Noxa abantu benkcubeko yemveli
babeqhubeka nenkcubeko yabo yemveli, babengayithandi inkcubeko yaseNtshona
eyamkelwe ngabantwana baseNtshona, ebenza ukuba bayijongele phantsi inkcubeko yabo
yemveli. Unobangela owenze ungquzulwano kukuthi bona abantu abakholelwa
kwinkcubeko yaseNtshona bebancinci ngokwenani, bafune ukuqweqwedisa abantu
benkcubeko yemveli abasisininzi. Ngenxa yobuninzi babantu abakholelwa kwinkcubeko
yaseNtshona, nto leyo edale isiphelo esingekho sihle nokuphalala kwegazi kwezi noveli.
Ukuqukumbela, isiphelo esibi sabalinganiswa senziwe kukunganyamezelani
kwabanbezinkcubeko zombini.
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Stjernström, Elsa, and Jenny Emanuelsson. "Dystopi och jordens undergång : En genreanalys av dystopiska inslag i fiktiv film." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-21167.
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This study is a research on how dystopian features are expressed within different genres. The purpose is to discuss films that contain dystopian features in relation to genre and to examine if there are shared conventions in the films that can make dystopia a film genre on its own. The theoretical base includes genre theory and Rick Altman’s semantic/syntactic approach to film genre. Five films from different genres, all produced within the time period of 2000-2010, are analyzed with a semantic/syntactic approach to genre and then discussed in relation to dystopia and prior research. By using a semantic/syntactic approach to film genre it is possible to identify shared conventions. Only by using a co-ordinate semantic/syntactic approach is it possible to fully understand the interaction between conventions within a genre. The result shows that there are conventions that are characteristic for dystopia and dystopia can thus be considered a subgenre. The films analyzed in this essay share conventions characteristic for dystopia but also offer variation in form of, for example, theme. The subgenre dystopia therefore offers something familiar but also variation which is central in film genre. The analysis also shows that there are symbols that carry meaning within these films which implies that they have a common iconography.
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Lamonica, Lucas de Castro 1986. "Filomena Borges : romance, imprensa e política." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270139.
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Orientador: Orna Messer Levin<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-27T01:32:43Z (GMT). No. of bitstreams: 1
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Previous issue date: 2015<br>Resumo: Filomena Borges é um romance de Aluísio Azevedo, publicado em folhetim pela Gazeta de Noticias entre 18 de dezembro de 1883 e 13 de janeiro de 1884. Esta dissertação resulta do estudo desse romance em seu contexto de produção e circulação, recorrendo à leitura de periódicos coetâneos e de obras literárias relacionadas. Através das fontes primárias, descobrimos que esse romance foi constituído em íntima relação com a imprensa. Ao invés de seguir o caminho convencional, de obra literária que usa o jornal como veículo de publicação, Filomena Borges surgiu a partir do jornal; a imprensa foi mais para esse romance que um suporte ¿ foi uma matriz da qual ele tirou recursos de conteúdo e forma. Por seu caráter folhetinesco, ele foi desconsiderado pela história literária, tendo sido tratado como um romance menor dentro do conjunto da obra de Azevedo. Sua única função seria, então, o divertimento. No entanto, recuperando a crítica coetânea do romance e suas repercussões, descobrimos que ele tinha outro sentido, que se perdeu com o tempo: o político. Por incluir D. Pedro II como personagem e colocá-lo em situação indecorosa, Aluísio Azevedo dividiu a crítica coetânea entre detratores e defensores do imperador. Revelou-se, assim, o caráter político da obra, que serviu como intervenção no debate político. As críticas do romance puderam ser compreendidas através da comparação com outras obras do período e com outros aspectos da atuação do autor e da Gazeta. A partir dessa reconstituição, os temas do romance, como o casamento, as viagens e a política, puderam ser explicados de maneira mais adequada, levando em consideração os critérios de sua época<br>Abstract: Filomena Borges is a novel by Aluísio Azevedo published in a feuilleton by Gazeta de Noticias between December 18th 1883 and January 13th 1884. The study of this novel results on this dissertation and it consider its context of production and circulation, recurring to the reading of coeval periodics and related literary works. Through primary sources we have discovered that this novel was conceived within an intimate relation with the press. Instead of following a traditional path, a literary work that uses a newspaper as a publication vehicle, Filomena Borges arose from the newspaper itself; the press had more than a supporting role - it was a source from which the novel gathered form and content. Because it had a feuilletonistic character it was disregarded by literary history, being considered only as a minor book within Azevedo¿s work. Its only function would be, therefore, entertainment. Nonetheless by recovering the novel coeval critic and the repercussions, we have found out that it had another meaning that was lost in time: political. Since it included D. Pedro II as a character, and by putting him in an unseemly situation, Aluísio Azevedo has divided the contemporary critics within the emperor¿s detractors and defenders. It was thus revealed the novel political feature, which has been used as an intervention on the political debate. The criticism around the novel could be understood throughout the comparison with other works of the period and other aspects of the author¿s procedure as well as the procedure of Gazeta. From this reconstitution, the themes presented in the novel, such as marriage, travels and politics were able to be explained in a more adequate matter regarding the criteria of its time<br>Mestrado<br>Teoria e Critica Literaria<br>Mestre em Teoria e História Literária
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Olsson, Simon. "Äventyrsgenrens funktioner från fiktionsprosa till interaktiv fiktion : En intermedial jämförelse mellan fyra verk." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-39172.
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The purpose of this thesis is to apply the adventure formulas laid out by John G. Cawelti and the dramatis personae written by Vladimir Propp to the traditional adventure books Le Tour du monde en quatre-vingts jour (1874) and Treasure Island (1883) and the interactive fictions The Secret of Monkey Island (1990) and 80 Days (2014), both in the adventure genre. After they have been applied, I will compare Le Tour du monde en quatre-vingts jour with 80 Days and Treasure Island with The Secret of Monkey Island by how the formulas and dramatis personae work and evolve in the fictions. To start things off, I will present the four works and then go through the relevant parts of Cawelti’s formula and Propp’s dramatis personae. Thereafter, I will explain what interactive fiction might be by using Espen J. Aarseth’s Cybertext. Important concepts will be clarified as well. The analysis in this thesis starts afterwards. Le Tour du monde en quatre-vingts jour and 80 Days will be the first two works to be analysed after Cawelti and thereafter Propp. When that is done, I will conclude what I have found. The same process will be done with Treasure Island and The Secret of Monkey Island. After that, I will make a concluding comparison between 80 Days and The Secret of Monkey Island and finally conclude whether Cawelti and Propp can be applied to interactive fiction.
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Vieira, Cirlei Garcia Andrade. "Clarice Lispector nas colunas femininas: do batom ao infinito." Universidade Federal de Uberlândia, 2015. https://repositorio.ufu.br/handle/123456789/11896.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>In Brazil, the area of Literature in the newspapers was the way found by many writers as a way to promote their written as receiving a salary. The show was one of the first literary manifestations in the communication vehicle newspaper. Then came the chronic and finally the female columns, in our case being studied, the female speaker Clarice Lispector. The author of A hora da estrela is known for her novels and short stories, but also wrote columns for newspapers of Rio de Janeiro, in the 50 and 60. Our dissertation consists of a reinterpretation of the female speaker Clarice Lispector, seeking not only the image of women represented in these pages, but recognize them as more a process of fictional creation of the author, in which mix recipes, advice, fashion, beauty confined to the feminine universe, published in books, Mail female (2006) and only for women (2008). The analysis and describe the image of woman, presents the historical image of his emancipation process and aims to find a moment when this woman abandons her domestic functions to return his gaze to general issues of society.<br>No Brasil, o espaço da Literatura nos jornais foi o caminho encontrado por muitos escritores como forma de divulgar seus escritos ou como de receber um salário. O folhetim foi uma das primeiras manifestações literárias, no veículo de comunicação, jornal. Depois vieram a crônica e, finalmente, as colunas femininas, no nosso caso em estudo, as colunas femininas de Clarice Lispector. A autora de A hora da estrela é conhecida por seus romances e contos, entretanto escreveu, também, colunas para jornais do Rio de Janeiro, nas décadas de 50 e 60. A nossa dissertação consiste em uma releitura das colunas femininas de Clarice Lispector, buscando não só a imagem da mulher representada em tais páginas, mas reconhecê-las como mais um processo de criação ficcional da autora, no qual se misturam receitas, conselhos, moda, beleza circunscritos ao universo feminino, publicadas nos livros, Correio Feminino (2006) e Só para mulheres (2008). A análise, além de descrever a imagem de mulher, apresenta a imagem histórica de seu processo de emancipação e almeja encontrar alguns instantes em que essa mulher abandona suas funções domésticas para voltar seu olhar para questões gerais da sociedade.<br>Mestre em Teoria Literária
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Wypkema, Laurel. ""Sex, loyalty, betrayal and unexpected love:" the landscape of Neil Jordan's fiction writing and films." Thesis, 2006. http://spectrum.library.concordia.ca/9103/1/MR20808.pdf.
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Neil Jordan is widely considered to be one of Ireland's preeminent filmmakers. Interestingly, Jordan's less-recognized career as a writer has been overshadowed by his clout as a filmmaker, despite its high quality. As a result, much of his work has not received the critical assessment and analysis to which it is undoubtedly entitled. This study seeks to understand the many connections and intersections between Jordan's literature and film. It hopes to bridge a gap in the critical reception of Jordan's work which has, so far, looked only fleetingly into the intersections between his published writing and his contributions to cinema. The imagery, themes and plot points from Jordan's fiction writing and film overlap; the woven character of his work is never capricious---he is clearly working within a very specific and personal worldview, one that is informed as much by his personal experiences and visions of the world as by his awareness and interaction with Irish history and nationalism. This paper carefully considers the development of Jordan's fiction writing from the late 1970s, alongside his burgeoning career as a filmmaker, particularly considering how his first two publications--- Night in Tunisia and Other Stories (1976) and The Past (1980)---have influenced his later work. What follows is a loosely chronological exploration of Jordan's fiction writing, as it corresponds to---and is distinguished from---his cinematic work in cinema. I will argue that through a close exploration of Jordan's earlier writing, a better understanding of his later work can be gleaned
Livros sobre o assunto "Jordan – Fiction"
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Griggs, Vanessa Davis. Promises beyond Jordan. New Spirit, 2004.
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ill, King Tara Calahan, ed. Four boys named Jordan. G.P. Putnam's Sons, 2004.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Jordan – Fiction"
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Roggenkamp, Karen. "Elizabeth Jordan, “True Stories of the News,” and Newspaper Fiction in Late-Nineteenth-Century Journalism." In Literature and Journalism. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137329301_6.
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Kissane, Michael. "Popular Culture in 1960s Provincial Ireland: Neil Jordan’s The Butcher Boy." In Screening Modern Irish Fiction and Drama. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40928-3_12.
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Murphy, Bernice M. "Conclusion: ‘It’s Our Time Now’: Us (2019) and Desierto (2015)." In The California Gothic in Fiction and Film. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474497862.003.0009.
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Here, the California Gothic is discussed in relation to its tendency to privilege the perspectives of white characters of Anglo-American descent. It is argued that Jordan Peele’s 2019 film Us subtly reminds us from the outset that it is a narrative with California-specific resonances. It also reminds us that the California Gothic is overwhelmingly associated with white creators, white protagonists and the dramatization of middle-class white anxieties. Here, a revolution which begins in California is again one that will soon expand far beyond the spatial boundaries of the state. The final film discussed in this volume is the Mexican-made survival horror movie Desierto (2015), directed by Jonás Cuarón. In Desierto, the desperate immigrant’s journey towards the ‘Promised Land’ of California is relayed from a twenty-first century genre-movie perspective. It overlaps with (and updates) many of the themes discussed during the first chapter, particularly the feeling that the ‘right’ to enter the Eden of California is often won at a high cost. Here, however, the travellers in peril here are modern-day migrant workers desperate to make it across the border to be reunited with family members.
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LoBrutto, Vincent. "Alienation." In Ridley Scott. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.003.0006.
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Ridley Scott decides to adapt Tristan and Isolde for his next film, with producer David Puttnam on board and a completed screenplay. In 1977 it is placed in development at Paramount. Scott sees Star Wars and is devastated to learn that the movie incorporated many of the ideas he had had for his project. 20th Century Fox puts Scott on a list of possible directors for Alien. Scott is selected and signs onto the dark science fiction/horror film. The movie concerns a beast aboard a spaceship that devours the crew members one by one. The remaining member, a strong and capable woman, manages to eliminate the monster. The visuals are complex, believable, and very scary. The film is a success and puts Ridley Scott on the Hollywood map. Scott next says yes to Dune, a major science fiction project, but his brother Frank dies of cancer at forty-five and Ridley Scott is emotionally unable to continue with the project. In 1975 he marries Sandy Watson, with whom he has a daughter, Jordan. Watson and Scott divorced in 1989.
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Ingram, Penelope. "Interlude." In Imperiled Whiteness. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845498.003.0009.
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This chapter introduces the section on Postracial Resistance which pivots away from cinematic and televisual texts that foreground whiteness and turns to the ways Black directors, Jordan Peele and Ryan Coogler, “trouble” prevailing representations of Blackness in the realm of cinema. It argues that the expectation of racial veracity in realist film limits the artistic range of Black filmmaking, produces normative discourses about Black life, and appears to make Black lived experience and subjects knowable to (white) audiences. This chapter foreshadows the arguments made in chapters eight and nine that Peele and Coogler utilize speculative fiction to disrupt the realist visual field in which Black life has been presented as knowable and consumable. SF enables Black filmmakers to forego the responsibility and weight of having to represent the “truth” of Black life and experiences.
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Cofer, Jordan. "The Trouble with “Innerleckchuls”: Flannery O’Connor, Anti-Intellectualism, and the Iowa Writers’ Workshop." In Reconsidering Flannery O'Connor. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831798.003.0007.
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In dialogue with Eric Bennett and Mark McGurl’s work on the Iowa Writers’ Workshop, as well as Tara Powell’s work on archetypes, Jordan Cofer uses new information from the Emory Archive and The Prayer Journal to contextualize one of O’Connor’s most famous comedic devices: the antagonistic intellectual. Cofer argues that although this device may have roots in southern fiction, O’Connor’s anti-intellectual trope derives from her time in the Iowa Writers’ Workshop. This chapter examines some of O’Connor’s juvenilia, the drafts of Wise Blood she was writing in Iowa (while simultaneously writing in her journal), and some of the short stories she wrote while enrolled at the Workshop. Finally, Cofer reconsiders the origins of O’Connor’s anti-intellectual as a potential outgrowth of her own anxieties during this time.
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King, Amy K. "Conclusion." In Grotesque Touch. University of North Carolina Press, 2021. http://dx.doi.org/10.5149/northcarolina/9781469664644.003.0007.
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The conclusion argues that some texts magnify the ironies of power by blending generic conventions, and/or they might remix generic conventions to implicate the United States as a nation in plantation violence. The chapter examines three texts that exemplify such ironies to various degrees. First, the chapter analyzes the comic book series Bitch Planet by Kelly Sue DeConnick and Valentine De Landro (2014–17) as it blends, bends, and (sometimes) breaks tropes of science fiction/dystopian genres and women-in-prison exploitation films. However, the series also operates within the narrative confines of an exceptional plantation setting. Then, the chapter analyzes how the HBO series Insecure (2017) and Jordan Peele’s film Get Out (2017) reconfigure plantation settings in ironic and self-reflective ways through elements of melodrama, comedy, and horror, respectively. In doing so, these texts mix generic elements and situate violence in broader national contexts. This chapter concludes that women’s violence remains a narrative feature across these genres.
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Blanchon, Jean-Louis. "Sur l’Incendi histoire et fiction." In Jordi Pere Cerdà. Presses universitaires de Perpignan, 2004. http://dx.doi.org/10.4000/books.pupvd.9513.
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Johnson-Hunt, Nancy. "We’re Human Too, You Know”:Tethered Journeys and Shadowed Strggles in Jordan Peele’s Us (2019)." In Female Identity in Contemporary Fictional Purgatorial Worlds. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781350227064.ch-14.
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Fraser, Benjamin. "Architecture, Materiality, and the Tactile City." In Visible Cities, Global Comics. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825032.003.0005.
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This chapter explores the built environment of the city at a personal scale. In a cover titled “The Comix Factory” designed for the comics magazine Raw, Dutch artist Joost Swarte employs the formal depth of comics to suggest their connection to tactile qualities of urban life in three dimensions. American Chris Ware’s ambitious boxed anthology Building Stories invites a tactile reading experience and pushes the architectural form of the comics multiframe to its limits. Also hailing from America, Mark Beyer’s transposition of his popular Amy and Jordan comic to the format of “City of Terror Trading Cards” uses tactility to implicate comics in city circulation patterns. Canadian artist Seth has been building tactile models of buildings in Dominion—the fictional setting for many of his comics. The Ghost of Gaudí by El Torres and Jesús Alonso Iglesias highlights Barcelona’s architecture.