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In Playing the Hero, Ann Dooley examines the surviving manuscript versions of the greatest of the early Irish sagas, the Táin Bó Cuailnge (Cattle-Raid of Cooley), and creates a picture of the cultural conditions and literary mind-sets under which medieval scribes recreated the text. Dooley argues that the scribes' work is both a transmission and a translation, and that their own changing historical circumstances within the space of one hundred years, from the beginning to the end of the twelfth century, determines the specifics of their literary creativity.Playing the Hero is a unique example of more contemporary literary methodologies - post-structuralist, feminist, historicist and beyond - being used to illuminate the Irish saga world. Dooley provides a commentary for the saga, helping to re-animate its literary sophistication. Her work is an interrogation of both the Irish epic hero - a reading of the male through the medium of feminine discourse - and the process whereby violence as normalized in the saga genre can be recovered as problematic and troubling. Dooley's work is groundbreaking and will provoke a wide response in Medieval Irish studies.

Cuchulain (Legendary character) --- Cuchulain (Legendary character). --- Epic literature, Irish --- Mythology, Celtic, in literature. --- HISTORY / Medieval. --- Cu Chulainn (Legendary character) --- Cuchulinn (Legendary character) --- Cuchullin (Legendary character) --- Legends --- History and criticism. --- Táin bó Cúailnge. --- Leabhar na h-uidhri. --- Yellow Book of Lecan. --- Book of Leinster. --- Cattle-raid of Cooley --- Táin Bó Cualnge --- Cualnge cattle-raid --- Ulster cycle --- Ireland --- In literature.

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This monograph analyses the use of caricature as one of the key strategies in narrative fiction since the war. Close analysis of some of the best known postwar novelists including Toni Morrison, Philip Roth, Joyce Carol Oates, Angela Carter and Will Self, reveals how they use caricature to express postmodern conceptions of the self. In the process of moving away from the modernist focus on subjectivity, postmodern characterisation has often drawn on a much older satirical tradition which includes Hogarth and Gillray in the visual arts, and Dryden, Pope, Swift and Dickens in literature. Its key images depict the human as reduced to the status of an object, an animal or a machine, or the human body as dismembered to represent the fragmentation of the human spirit. Gregson argues that this return to caricature is symptomatic of a satirical attitude to the self which is particularly characteristic of contemporary culture

English fiction --- American fiction --- Satire, English --- Satire, American --- Character in literature. --- Caricature in literature. --- World War, 1939-1945 --- History and criticism. --- Influence.

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This book is on evidence for character judgments, answering questions about how such judgments are and should be supported or refuted by verifiable evidence. For example, if I claim that some particular person has integrity, or does not, what kind of justification should properly be used to support or refute the claim? This book answers the question using a model of abductive reasoning, commonly called inference to the best explanation. The methodology of the book derives from recent work on models of reasoning in argumentation theory and artificial intelligence. The aim is not just to show how character judgments are made, but to show how they should be properly be made based on sound reasoning, in order to avoid errors and superficial judgments of a kind that are common. Character evidence in law is on a razor’s edge. It is generally inadmissible, for it might tend to prejudice a jury, but it is a kind of evidence often needed in trials, for example, to cross-examine a witness. This book shows that we are not as good at judging character as we think, and often make serious mistakes. But it is shown how character judgments can, in some instances, be based on good reasoning supported by factual evidence in a case.

Reputation (Law) --- Examination of witnesses --- Abduction (Logic) --- Artificial intelligence. --- Psychological aspects. --- AI (Artificial intelligence) --- Artificial thinking --- Electronic brains --- Intellectronics --- Intelligence, Artificial --- Intelligent machines --- Machine intelligence --- Thinking, Artificial --- Bionics --- Cognitive science --- Digital computer simulation --- Electronic data processing --- Logic machines --- Machine theory --- Self-organizing systems --- Simulation methods --- Fifth generation computers --- Neural computers --- Logic --- Reasoning --- Syllogism --- Evidence (Law) --- Trial practice --- Witnesses --- Evidence, Character --- Fama publica --- Character evidence --- Law and legislation --- Philosophy of law. --- Criminal Law. --- Philosophy of Law. --- Theories of Law, Philosophy of Law, Legal History. --- Criminal Law and Criminal Procedure Law. --- Crime --- Crimes and misdemeanors --- Criminals --- Law, Criminal --- Penal codes --- Penal law --- Pleas of the crown --- Public law --- Criminal justice, Administration of --- Criminal procedure --- Legal status, laws, etc. --- Political science. --- Law—Philosophy. --- Law. --- Criminal law. --- Acts, Legislative --- Enactments, Legislative --- Laws (Statutes) --- Legislative acts --- Legislative enactments --- Jurisprudence --- Legislation --- Administration --- Civil government --- Commonwealth, The --- Government --- Political theory --- Political thought --- Politics --- Science, Political --- Social sciences --- State, The

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Shylock, the Jewish moneylender in The Merchant of Venice who famously demands a pound of flesh as security for a loan to his antisemitic tormentors, is one of Shakespeare's most complex and idiosyncratic characters. With his unsettling eloquence and his varying voices of protest, play, rage, and refusal, Shylock remains a source of perennial fascination. What explains the strange and enduring force of this character, so unlike that of any other in Shakespeare's plays? Kenneth Gross posits that the figure of Shylock is so powerful because he is the voice of Shakespeare himself. Marvelously speculative and articulate, Gross's book argues that Shylock is a breakthrough for Shakespeare the playwright, an early realization of the Bard's power to create dramatic voices that speak for hidden, unconscious, even inhuman impulses-characters larger than the plays that contain them and ready to escape the author's control. Shylock is also a mask for Shakespeare's own need, rage, vulnerability, and generosity, giving form to Shakespeare's ambition as an author and his uncertain bond with the audience. Gross's vision of Shylock as Shakespeare's covert double leads to a probing analysis of the character's peculiar isolation, ambivalence, opacity, and dark humor. Addressing the broader resonance of Shylock, both historical and artistic, Gross examines the character's hold on later readers and writers, including Heinrich Heine and Philip Roth, suggesting that Shylock mirrors the ambiguous states of Jewishness in modernity. A bravura critical performance, Shylock Is Shakespeare will fascinate readers with its range of reference, its union of rigor and play, and its conjectural-even fictive-means of coming to terms with the question of Shylock, ultimately taking readers to the very heart of Shakespeare's humanizing genius.

LITERARY CRITICISM / General. --- Shakespeare, William, --- Shylock --- Шейлок --- Sheĭlok --- Shakespeare, William --- Shakespear, William, --- Shakspeare, William, --- Šekʻspiri, Uiliam, --- Saixpēr, Gouilliam, --- Shakspere, William, --- Shikisbīr, Wilyam, --- Szekspir, Wiliam, --- Šekspyras, --- Shekspir, Vilʹi︠a︡m, --- Šekspir, Viljem, --- Tsikinya-chaka, --- Sha-shih-pi-ya, --- Shashibiya, --- Sheḳspir, Ṿilyam, --- Shaḳspir, Ṿilyam, --- Syeiksŭpʻio, --- Shekspir, V. --- Szekspir, William, --- Shakespeare, Guglielmo, --- Shake-speare, William, --- Sha-ō, --- Şekspir, --- Shekspir, Uiliam, --- Shekspir, U. --- Šekspir, Vilijam, --- Ṣēkspiyar, Viliyam, --- Shakspir, --- Shekspyr, Vyli︠e︡m, --- Şekspir, Velyam, --- Ṣēkspiyar, Villiyam, --- Shēkʻspʻiyr, Vlilliam, --- Ṣēkspiyar, --- Ṣēkspiyar Mahākavi, --- Ṣēkspiyar Mahākaviya, --- Sheḳspier, Ṿilyam, --- Shēkʻspir, --- Shakespeare, --- Śeksper, --- Шекспир, Вильям, --- Шекспир, Уильям, --- שייקספיר, וויליאם, --- שייקספיר, וו., --- שיקספיר, וויליאם --- שיקספיר, ויליאם --- שיקספיר, ויליאם, --- שכספיר, ויליאם, --- שכספיר, וילים, --- שכספיר, ו׳ --- שעפקספיר, וויליאם, --- שעקספיער, וויליאם --- שעקספיער, וויליאם, --- שעקספיער, ווילליאם --- שעקספיער, וו., --- שעקספיר --- שעקספיר, וו --- שעקספיר, וויליאם, --- שעקספיר, וויליאמ --- שעקספיר, ווילליאם --- שעקספיר, ווילליאם, --- שעקספיר, וו., --- שעקספיר, װיליאם, --- שעקספיר, װילליאם, --- שעקספיר, װ., --- שעקספער --- שעקספער, וויליאמ --- שקספיר --- שקספיר, וו --- שקספיר, וויליאם --- שקספיר, וויליאם, --- שקספיר, ווילים, --- שקספיר, וילאם --- שקספיר, ויליאם --- שקספיר, ויליאם, --- שקספיר, ויליים, --- שקספיר, וילים --- שקספיר, וילים, --- شاكسبير، وليم --- شاكسپير، وليم --- شكسبير، وليام --- شكسبير، وليم --- شكسبير، وليم، --- شكسبير، و. --- شكسپير، وليم --- شكسپير، ويليام --- شيكسبير، وليام --- شيكسبير، وليام.، --- شيكسبير، وليم --- شکسبير، وليم --- وليم شکسبير --- 沙士北亞威廉姆, --- 沙士比亞威廉姆, --- 莎士比亞威廉姆, --- 莎士比亞威廉, --- 莎士比亞, --- Jacobson, Howard. --- Castelnuovo-Tedesco, Mario, --- Tchaikowsky, André, --- Harbison, John. --- Nystroem, Gösta, --- Characters --- Shylock. --- Shylock (Fictitious character) --- Shylock (Fictitious character). --- shylock, shakespeare, character study, literature, canon, judaism, jewish, antisemitism, difference, outcast, dark humor, ambivalence, isolation, ambiguity, rage, protest, drama, theater, performing arts, refusal, ambition, generosity, vulnerability, need, wealth, debt, obligation, revenge, cruelty, unconscious, desire, passion, modernity, identity, philip roth, heinrich heine, merchant of venice, complicity, conversion.

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"The lives of Catullus and Horace overlap by a dozen years in the first century BC. Yet, though they are the undisputed masters of the lyric voice in Roman poetry, Horace directly mentions his great predecessor, Catullus, only once, and this reference has often been taken as mocking. In fact, Horace's allusion, far from disparaging Catullus, pays him a discreet compliment by suggesting the challenge that his accomplishment presented to his successors, including Horace himself. In Poetic Interplay, the first book-length study of Catullus's influence on Horace, Michael Putnam shows that the earlier poet was probably the single most important source of inspiration for Horace's Odes, the later author's magnum opus. Except in some half-dozen poems, Catullus is not, technically, writing lyric because his favored meters do not fall into that category. Nonetheless, however disparate their preferred genres and their stylistic usage, Horace found in the poetry of Catullus, whatever its mode of presentation, a constant stimulus for his imagination. And, despite the differences between the two poets, Putnam's close readings reveal that many of Horace's poems echo Catullus verbally, thematically, or both. By illustrating how Horace often found his own voice even as he acknowledged Catullus's genius, Putnam guides us to a deeper appreciation of the earlier poet as well"--Provided by publisher.

Helen of Troy (Greek mythology) in literature. --- Influence (Literary, artistic, etc.). --- Odes, Latin --- Hélène (Mythologie grecque) dans la littérature --- Influence littéraire, artistique, etc. --- Odes latines --- History and criticism. --- Histoire et critique --- Horace --- Catullus, Gaius Valerius --- Virgil --- Knowledge --- Literature. --- Influence. --- In literature. --- Rome --- Rome dans la littérature --- Helen of Troy (Greek mythology) in literature --- Influence (Literary, artistic, etc.) --- Odes --- History and criticism --- Literature --- Influence --- In literature --- Hélène (Mythologie grecque) dans la littérature --- Influence littéraire, artistique, etc. --- Rome dans la littérature --- Artistic impact --- Artistic influence --- Impact (Literary, artistic, etc.) --- Literary impact --- Literary influence --- Literary tradition --- Tradition (Literature) --- Vergil --- Virgile --- Virgilio Máron, Publio --- Virgilius Maro, Publius --- Vergili Maronis, Publius --- Catul --- Catull --- Catulle --- Catulli, C. Valerii --- Catullo, Gaio Valerio --- Catullus, C. Valerius --- Catullus, Gaius Valerius, --- Catullus, Gajus Valerius --- Catulo --- Katull, Gaǐ Valeriǐ --- Katullus, Kaius Valerius --- Valerio Cátulo, Cayo --- Катулл --- Orazio --- Horacij Flakk, Kvint --- Epic poetry, Latin (Medieval and modern) --- Astyanax (Legendary character) --- Jason (Greek mythology) --- Poésie épique latine médiévale et moderne --- Astyanax (Personnage légendaire) --- Enée (Personnage légendaire) --- Jason (Mythologie grecque) --- Vegio, Maffeo, --- Anthony, --- Poésie épique latine médiévale et moderne --- Astyanax (Personnage légendaire) --- Enée (Personnage légendaire) --- Lyric poetry --- Poetry --- Art --- Influence (Psychology) --- Intermediality --- Intertextuality --- Originality in literature --- Helen, --- Elena, --- Helena, --- Helenē, --- Yelena, --- 海伦 , --- ヘレネー, --- הלנה, --- העלענע, --- 헬레네, --- Хелена, --- Єлена, --- Елена , --- هلن, --- هيلين, --- Ἑλένη, --- Aeneas (Legendary character) --- Latin epic poetry, Medieval and modern --- Latin poetry, Medieval and modern --- Scamandrius (Legendary character) --- Legends --- Veggius, Mapheus, --- Vegius, Mapheus, --- Anbā Anṭūnīyūs, --- Anthony the Abbot, --- Antoine, --- Antoniĭ Velikiĭ, --- Antonio, --- Antonius, --- Antonius Magnus, --- Antony, --- Qiddīs Anṭūnīyūs, --- قديس مصر أنطونيوس --- Horatius Flaccus, Quintus --- Vergilius Maro, Publius --- in literature. --- Horatius Flaccus, Q. --- Translations into English. --- Poetry. --- Traductions anglaises --- Poésie --- Virgilius Maro, Publius, --- Virgilio Marone, P., --- Vergilīĭ, --- Virgile, --- Vergílio, --- Wergiliusz, --- Vergilīĭ Maron, P. --- Vergilīĭ Maron, Publīĭ, --- Verhiliĭ Maron, P., --- Vergil, --- Virgilio, --- Virgilīĭ, --- Virgilius Maro, P., --- Virgil Maro, P., --- ווירגיל, --- וירגיליוס, --- ורגיליוס, --- מרו, פובליוס ורגיליוס, --- فرجيل, --- Pseudo-Virgil, --- Pseudo Virgilio, --- Virgilio Marón, Publio, --- Bhārjila, --- Vergilius Maro, P. --- Vergilius --- Virgilio Marone, P. --- Vergilīĭ --- Vergílio --- Wergiliusz --- Vergilīĭ Maron, Publīĭ --- Verhiliĭ Maron, P. --- Virgilio --- Virgilius Maro, P. --- Virgil Maro, P. --- Pseudo-Virgil --- Pseudo Virgilio --- Virgilio Marón, Publio --- Bhārjila --- Catullus, Caius Valerius --- Aeneas --- Jason --- Helen --- Anton, --- Gorat︠s︡īĭ --- Gorat︠s︡iĭ Flakk, Kvint --- Horacij --- Horacio, --- Horacio Flaco, Q. --- Horacjusz --- Horacjusz Flakkus, Kwintus --- Horacy --- Horaṭiyos --- Horaṭiyus --- Horats --- Horaz --- Khorat︠s︡iĭ --- Khorat︠s︡iĭ Flak, Kvint --- Orazio Flacco, Quinto --- הוראציוס --- הורטיוס --- Odes - History and criticism --- Horace - Knowledge - Literature --- Catullus, Gaius Valerius - Influence --- Virgil - In literature --- Rome - In literature --- Marone, Publio Virgilio --- Vegio, Maffeo