Related Papers
Representation of time: A stylistic analysis of real and surreal elements in Joseph Heller's" Catch 22
2009 •
Sarala Krishnamurthy
Yossarian as an existential hero in Joseph Heller's novel Catch-22
Tomasz Krawczyk
‘Why don’t you just say it as simply as that?’: The Progression of Parrhesia in the Early Novels of Joseph Heller
Pete Templeton
This article combines Foucault's exploration of the ancient Greek concept of parrhesia with the novels of Joseph Heller to attempt to arrive at a more complete critical position for an author whose work, aside from his first novel, is often critically neglected. The article explores the way in which Heller's writing progresses over his first three novels, becoming more explicit in its social critique. It also explores his uses dark humour – a popular device for comics, authors and filmmakers in the period – in his first three novels to preach against the way that American systems of a military, political, or corporate nature control the actions of supposedly free citizens, through intricate bureaucratic webs which border or tip into absurdism, and the fear which stems from the underlying covert threat to the citizen's wellbeing.
pishkar's reader's guide
Kian Pishkar Assistant Professor
Reason unbound : a neo-rationalist manifesto
2017 •
Fatema Amijee
Palgrave
The Poetics of Post-traumatic Stress Disorder in Postmodern Literature
2021 •
Iro Filippaki
The Poetics of Posttraumatic Stress Disorder in Postmodern Literature revisits the great American post-WWII, postmodern literary texts, namely Thomas Pynchon’s Gravity’s Rainbow (1973), Kurt Vonnegut’s Slaughterhouse-5 (1969), and Joseph Heller’s Catch-22 (1961), to fuse high literary theory and criticism with the conception of PTSD symptomatology—and the historico-political developments that dictated the formation of PTSD symptoms and their corresponding literary tropes. For the first time since the portrayal of PTSD as a product of narrative discourses, The Poetics of Posttraumatic Stress Disorder in Postmodern Literature performs an inverse exploration. By identifying key postmodern literary tropes as products of an overarching PTSD narrative paradigm, this accessible and concise study: identifies unexplored aspects of the canonical novels at hand, such as the link between individual and collective traumatization; introduces a novel way of examining trauma at the intersection of narrative, history, and medicine that will be of interest to literary scholars, students, and medical practitioners within narrative medicine alike; and recalibrates the importance of postmodern politics of transformation, while making the case for an aesthetics of trauma.
Gumanitarnye i socialʹnye nauki
ЯЗЫКОВЫЕ СРЕДСТВА ВЫРАЖЕНИЯ СТРАТЕГИИ «УЛОВКА» В РОМАНЕ ДЖ. ХЕЛЛЕРА «CATCH-22»
2019 •
Irina Ryabtseva
The article is devoted to the analysis of the language means of expressing the strategy of "trick" in the novel by J. Heller "Catch-22". This strategy underlies the whole novel and turns out to be the most powerful means of creating the atmosphere of absurdity, falsehood and hypocrisy. In general the strategy of "trick" is understood as an intentional communicative-pragmatic act with various emotional-expressive shades, aimed at manipulative influence on the addressee through the concealment of the addresser's true intention in communicative situations of rivalry, clash of interests, etc. It is achieved through the abundance of logical contradictions, mutually exclusive lexical and grammatical structures, combination of different structural types of sentences (simple/complex), interweaving of conditional and subjunctive forms. Stylistic devices also contribute to this effect.
Fictions: Studi sulla narratività
Bombardamenti disumanitari: la guerra aerea americana in Falstein, Heller e Vonnegut, 1950-1969
2014 •
Umberto Rossi
Tutta una serie di considerazioni relative all'importanza dell'arma aerea nella Seconda guerra mondiale, e dei bombardieri strategici in particolare, porta inevitabilmente a considerare con una certa attenzione, all’interno del corpus di testi letterari americani scaturiti dalla Seconda guerra mondiale, quelli legati all’esperienza degli aviatori, specie se facenti parte di equipaggi di bombardieri. La questione si riveste retrospettivamente di un particolare interesse nella misura in cui il bombardamento strategico, cioè la capacità di attaccare i propri nemici dall’aria a grandi distanze dal territorio nazionale, sono stati strumenti chiave nella politica globale degli Stati Uniti dopo la seconda guerra mondiale, sia durante la guerra fredda che, e forse in misura ancor maggiore, dopo la sua conclusione (come attestano due guerre del Golfo e gli interventi in Bosnia, Serbia e Libia). Tornare alle origini della potenza aeronautica statunitense attraverso tre romanzi scritti da reduci della seconda guerra mondiale ( Face of a Hero, di Louis Falstein; Catch-22, di Jospeh Heller; Slaughterhouse-5, di Kurt Vonnegut) può essere quindi un’occasione per ripensare non solo questioni strettamente connesse all’ambito della letteratura di guerra, ma anche per una riflessione sull’impero americano e i suoi bombardieri.
Philosophia 35:2 (June 2007): 145-159
The Ethics of Non-Realist Fiction: Morality’s Catch-22
James Harold
The topic of this essay is how non-realistic novels challenge our philosophical understanding of the moral significance of literature. I consider just one case: Joseph Heller’s Catch-22. I argue that standard philosophical views, based as they are on realistic models of literature, fail to capture the moral significance of this work. I show that Catch-22 succeeds morally because of the ways it resists using standard realistic technique, and suggest that philosophical discussion of ethics and literature must be pluralistic if it is to include all morally salient literature, and not just novels in the “Great Tradition” and their ilk.
THE THEME OF DEATH AND HOPE IN JOSEPH HELLER'S NOVEL CATCH 22 -A PSYCHOLOGICAL OVERVIEW
IMMANUEL GANESAN
American servicemen during World War II. The title of this work entered the English lexicon to refer to absurd, no-win choices, particularly in situations in which the desired outcome of the choice is impossibility, and regardless of choice, the same negative outcome is a certainty. Heller is widely regarded as one of the best post-World War II satirists. Heller's principle emphasis is on the internal struggle with conflicting values and the characters' evolution. 'Sure there's a catch,' Doc Daneeka replied. 'Catch-22. Anyone who wants to get out of combat duty isn't really crazy.' There was only one catch and that was Catch-22….. (Heller, Joseph pg. 52) 'Catch-22?' Yossarian was stunned. 'What the hell has Catch-22 got to do with it?' 'Catch-22,' Doc Daneeka answered patiently, when Hungry Joe had flown Yossarian back to Pianosa, 'says you've always got to do what your commanding officer tells you to.' 'But Twenty-seventh Air Force says I can go home with forty missions.' 'But they don't say you have to go home. And regulations do say you
