Harmonic Monads : Reading Contemporary Scottish Fiction through the Enlightenment

Peer reviewed

Very Chicago : Mary Borden and the Art of Fiction

Peer reviewed

Nostalgic representation of reality in television fiction: an empirical study based on the analysis of the Spanish television series Cuéntame cómo pasó

The Spanish transition from dictatorship to democracy is often described as an example of negotiation or agreement between the elites (Sánchez Cuenca and Aguilar, 2009: 433). Journalistic and political elites, aware of their important historical role, agreed a consensus on certain issues (democracy, constitution, amnesty) or characters (King Juan Carlos I), in order to ensure the stability of the democratic process (Zugasti, 2007, 2008). Television, which articulates the discourse of the masses, has been one of the basic means used to illustrate the development. Among the highlights of recent major audiovisual content, Cuéntame cómo pasó (2001-present) -a TV-series designed to explain changes with a nostalgic tone in Spanish society since 1968 until today- stands out. By choosing a random sample of episodes for this research we propose to verify the validity of the representation of the political process which contextualizes the series. By analyzing many elements, such as the opinions of the main characters, their personal, political and geographical situations, we try to show the construction of a focal point that sanctifies the official version. We also stress the pacifying and nostalgic tone, which constructs stereotypes and taboos about the process and which characterizes this series as a symbolic culmination of the democratization undertaken by the elites.

Blending in English Charactoons

This article deals with both the word-formation mechanism of blending and the creative process involved in providing characters with proper names in cartoons or TV series for children in English. The study addresses the nature and features of proper and common names, two apparently well-distinguished categories, as well as, and basically fictional proper names, by suggesting differences between fictional proper names and other types of proper and common names. Furthermore, it discusses the presence of blending in fiction and in fictional proper names, with special reference to charactonyms. The main focus of this work is on blended charactonyms in cartoons addressed to children, which for the purposes of this study will be called cartoonyms or charactoons. Questions such as the following are addressed: the formation or creation of cartoonyms or charactoons from pre-existing material; the semantic motivations behind their formation; their resulting structural complexity; their particularly descriptive, expressive and meaningful nature; as well as how suitable they are to the genre in which they are used.

Fleshing Out and Losing Flesh: The Decomposing Corpse as Narrative Object in American Hardboiled Detective Fiction

This dissertation examines the corpse as an object in and of American hardboiled detective fiction written between 1920 and 1950. I deploy several theoretical frames, including narratology, body-as-text theory, object relations theory, and genre theory, in order to demonstrate the significance of objects, symbols, and things primarily in the clever and crafty work of Dashiell Hammett (1894-1961) and Raymond Chandler (1888-1959), but also touching on the writings of their lesser known accomplices. I construct a literary genealogy of American hardboiled detective fiction originating in the writings of Edgar Allan Poe, compare the contributions of classic or Golden Age detective fiction in England, and describe the socio-economic contexts, particularly the predominance of the “pulps,” that gave birth to the realism of the Hardboiled School. Taking seriously Chandler’s obsession with the art of murder, I engage with how authors pre-empt their readers’ knowledge of the tricks of the trade and manipulate their expectations, as well as discuss the characteristics and effect of the inimitable hardboiled style, its sharpshooting language and deadpan humour. Critical scholarship has rarely addressed the body and figure of the corpse, preferring to focus instead on the machinations of the femme fatale, the performance of masculinity, or the prevalence of violence. I cast new light on the world of hardboiled detective fiction by dissecting the corpse as the object that both motivates and de-composes (or rots away from) the narrative that makes it signify. I treat the corpse as an inanimate object, indifferent to representation, that destabilizes the integrity and self-possession, as well as the ratiocination, of the detective who authors the narrative of how the corpse came to be. The corpse is all deceptive and dangerous surface rather than the container of hidden depths of life and meaning that the detective hopes to uncover and reconstruct. I conclude with a chapter that is both critical denouement and creative writing experiment to reveal the self-reflexive (and at times metafictional) dimensions of hardboiled fiction. My dissertation, too, in the manner of hardboiled fiction, hopes to incriminate my readers as much as enlighten them.

The Beauties of England and Wales; or, Delineations, topographical, historical, and descriptive, of each county.

For full contents note see NUC pre-1956 cited above.

Critical and historical essays and Lays of ancient Rome /

Includes index.

The effect of stress upon quantity in dissyllables; an experimental and historical study

Bibliographical foot-notes.

A descriptive guide to the best fiction, British and American,

Classified: A, English (by periods), Scottish, Irish, Colonial; B, American (by periods); C-L, translations (by languages); followed by an index of authors and titles, and one of subjects. Critical and descriptive notes; best or "representative" works are starred.

A literary & historical atlas of Europe /

"A brief survey of the English coinage from the earliest times to the present day, by Bernard Roth": p. 99-112.