...Julianne Werlin Samuel Fallon , Paper Monsters: Persona and Literary Culture in Elizabethan England , Philadelphia : University of Pennsylvania Press , 2019 . Copyright © 2021 by University of Oklahoma 2021 In the final decade of the sixteenth century, Samuel Fallon argues...

... of the novelistic narrative structure of shipwreck reportage that demanded a ferocious embodied antagonist in its dramatis personae to justify the capitalist and imperialist objectives of the whaling industry. I argue that Moby-Dick complicates Chase's flat vilification of the whale and its associations...

..., those versatile devices through which a hard and unbending representation can be quickened and reshaped. Despite their thematic importance, however, both Wordsworth's and Heaney's mentor figures play a relatively small role in the perceptions of the poetic persona (in lyrical forms where...

... turns to the world of expressive culture (primarily individual poems and essays) to show how artists have imagined what he calls “black worlds.” He uses this term to describe aesthetic imaginaries that situate texts as spaces of encounter that allow personas to navigate racialized vulnerability without...

... Dominika Ferens suggestively reads ethnography as a crucial element in Win- nifred Eaton's construction of her authorial persona Onoto Watanna. One of the most fruitful theorizations of the intersection of these related discourses remains Mary Louise Pratt's influential formulation of autoethnography...

..., carefully orches- trated her transnational public persona. At the beginning of her writing career, she created an aura of mystery surrounding her alleged identity as an ordinary Chinese person, one who just happened to be white. As her career developed, however, she shifted her image...

... is presented as a corollary of her new persona. Though the logic may be backward, the authorial figuration is indeed integral to the so-called "Barbara Vine" novels, which Rendell began publishing in 1986 and which rep- resent twelve (to date) of the sixty-some volumes she has produced in her long...

... of the “Mailer” persona in The Armies of the Night helps the author accomplish two things: it enables Mailer to explore the connections of his pres- ent work with his past oeuvre, and it facilitates his complication of the collective genre by preserving the cleft between the self-­creative acts...

... Monologue, Unreliable Narrators, and the Author's Voice on Stage.” Comparative Drama 22 ( 3 ): 193 – 214 . ———. 1997 . “Beyond Poststructuralism: Theory of Character, the Personae of Modern Drama, and the Antinomies of Critical Theory.” Modern Drama 40 ( 1 ): 86 – 99 . ———. 2001...

... could sing very well, it is unlikely they would have gained an audience if presented apart from their fictional identities. Andrew Strong, though, was pre- sented as if the authentic identity—"persona" might be more appropriate here; a performing artist never has an public "identity" as such—can...

... Armstrong's multiple autobiographies (1936-70), Mezz Mezzrow's Really the Blues (1946), Billie Holi- day's Lady Sings the Blues (1956), Charles Mingus's Beneath the Underdog (1971), and Duke Ellington's Music Is My Mistress (1973) invent elusive autobiographi- cal personas that are positioned extra...

... for Anderson's lonely speakers and narrating personae. In Anderson's world such stories, and the various epiphanies or sud- den flashes of self-consciousness they typically evoke, can only emerge in the space of small, fugitive episodes in which the customary routines of one's life are momentarily...

... generated by such reclusiveness becomes a publicity stunt of its own - and another form of incorporation into the machine. Conroy's neglect of the author- personas of these two writers seems another of Muse in the Machine's missed opportunities. Conroy never explicitly addresses his decision...

... and persona of the speaker. Arriving after the fact, the essayist is left to make sense and order of people and materials as they present themselves, and to react accordingly. There is no organic unity to the images offered in "Street Haunting." They are bound together by coincidence...

... of characterization that the Deuteronomist(s) employs in 1 and 2 Samuel in depicting David, and those that Luke uses in Acts to depict Paul, as well as those Paul uses to create his persona in his epistles. My principal area of research is American Indian literature, and so I begin with what I learned...

...-or at least to the rebellious, ever- inquisitive prankster which constitutes Ellison's public persona. As Weil and Wolfe note, Ellison has made the nominally secluded life of a writer into a spec- tacle of performance (this is a man, after all, who has been known to write sto- ries-often very good...

...-Anderson Gosta . 2011 . La rivoluzione incompiuta: Donne, famiglie, welfare . Bologna : Il Mulino . Ferrajoli Luigi . 1994 . “Dai diritti del cittadino ai diritti della persona.” In La cittadinanza , edited by Zolo Danilo , 263 – 92 . Rome : Laterza . Ferrera Maurizio...

... availability for the most demanding tasks. "Nostromo" names a natural—even numinous—force as well as naming a persona among personae, the stamp (or "character") of an individual. Just as we eventually learn that the character of Nostromo has an undisclosed depth, that his legendary incorruptibility...

... the male boss con- siders to be “as cold-­blooded as an adding-­machine” (115). Both the flattering representation of Becky and the dehumanizing comparison of Rena to an adding machine illustrate the ambiguous nature of women’s professional personas; on the one hand, women were praised and rewarded...

... elements of Cage's public persona, his literary influences, and his dedication to exploring nonintention. The events for which these lectures were written and the setting in which they were originally deliv- ered inscribe Cage's public persona of respected avant-garde artist into the text...