The Ring | Copyright
Some or all of these eNotes are an offprint from Short Stories For Students: Presenting Analysis, Context, and Criticism on Commonly Studied Short Stories.
Short Stories For Students
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The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of SSFS. Every effort has been made to trace copyright, but if omissions have been made, please let us know.
COPYRIGHTED EXCERPTS IN SSFS, VOLUME 6, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:
African American Review, v. 28, 1994 for ‘‘‘Would You Really Rather Die Than Bear My Young?’: The Construction of Gender, Race, and Species in Octavia E. Butler’s ‘Bloodchild’’’ by Elyce Roe Helford. Copyright © 1994 Elyce Roe Helford. Reproduced by permission of the author.—Arizona Quarterly, v. 42, Winter, 1986 for ‘‘Imagery as Action in ‘The Beast in the Jungle’’’ by James W. Gargano. Copyright © 1986 by Arizona Quarterly. Reproduced by permission of the publisher and the Literary Estate of James. W. Gargano.—CLA Journal, v. XXI, December, 1977; v. XXXI, June, 1988. Copyright © 1977, 1988 by The College Language Association. Both used by permission of The College Language Association.—College Literature, v. XIV, 1987. Copyright © 1987 by West Chester University. Reproduced by permission.—The Journal of Men’s Studies, v. 2, May, 1994. © 1994 by the Men’s Studies Press. All rights reserved. Reproduced by permission.—Modern Fiction Studies, v. XIV, Winter, 1968/69. Copyright © 1968/69 by Purdue Research Foundation. All rights reserved. Reproduced by permission of The Johns Hopkins University.—The Nation, New York, v. 261, November 6, 1995. Copyright 1995 The Nation magazine / The Nation Company, Inc. Reproduced by permission.—The North American Review, v. 274, December, 1989. Copyright © 1989 by the University of Iowa. Reproduced by permission from The North American Review.—Notes on Mississippi Writers, v. VII, Fall, 1974. Reproduced by permission.— Philosophy and Literature, v. 16, April, 1992. © 1992. Reproduced by permission of The Johns Hopkins University Press.—Slavic and East- European Journal, v. 23, Fall, 1979. © 1979 by AATSEEL of the U.S., Inc. Reproduced by permission.— Studies in American Fiction, v. 10, Autumn, 1982. Copyright © 1982 Northeastern University. Reproduced by permission.—Studies in Short Fiction, v. 6, Fall, 1969; v. 7, Fall, 1970; v. 16, Summer, 1979; v. 17, Winter, 1980; v. 25, Winter, 1988; v. 27, Summer, 1990. Copyright 1969, 1970, 1979, 1980, 1988, 1990 by Newberry College. All reproduced by permission.—Texas Studies in Literature and Language, v. 20, Winter, 1968. Copyright © 1968 by the University of Texas Press. Reproduced by permission of the publisher.— The University Kansas City Review, v. XXXVIII, Summer, 1971 for ‘‘Leitmotif and Irony in Hemingway’s ‘Hills Like White Elephants’’’ by Reid Maynard. © copyright 1971 The Curators of the University of Missouri. All rights reserved. Reproduced by permission of New Letters (formerly the UKC Review) and the Curators of the University of Missouri-Kansas City.—The University of Mississippi Studies in English, v. 8, 1990. Copyright © 1990 The University of Mississippi. Reproduced by permission.—Wascana Review, v. 21, Spring, 1986. Copyright, 1986 The University of Regina, Canada. Reproduced by permission.—Women’s Studies: An Interdisciplinary Journal, v. 20, 1991. © 1991 Gordon and Breach Science Publishers. Reproduced by permission.
COPYRIGHTED EXCERPTS IN SSFS, VOLUME 6, WERE REPRODUCED FROM THE FOLLOWING BOOKS:
Bell, Millicent. From Meaning in Henry James. Cambridge, Mass.: Harvard University Press, 1991. Copyright © 1991 by the President and Fellows of Harvard College. All rights reserved. Reproduced by permission.—Black, Michael. From D. H. Lawrence: The Early Fiction. Cambridge University Press, 1986. © Michael Black, 1986. Reproduced with permission of the publisher and the author.— Butler, Octavia E. From an afterword to Bloodchild and Other Stories. Seven Stories Press, 1995. Copyright © 1995 Octavia E. Butler. Reproduced by permission of the publisher.—Connolly, Julian W. From Nabokov’s Early Fiction: Patterns of Self and Other. Cambridge University Press, 1992. © Cambridge University Press 1992. Reprinted by permission of the publisher and the author.—Cushman, Keith. From ‘‘Blind, Intertextual Love: ‘The Blind Man’ and Raymond Carver’s ‘Cathedral’’’ in D. H. Lawrence’s Literary Inheritors. Edited by Keith Cushman and Dennis Jackson. Macmillan, 1991. © Keith Cushman and Dennis Jackson. All rights reserved. Reproduced by permission of Macmillan, London and Basingstoke.—Gerlach, John. From “The Logic of Wings: Garcia Marquez, Todorov, and the Endless Resources of Fantasy” in Bridges to Fantasy. Edited by George E. Slusser, Eric S. Rabkin, and Robert Scholes. Southern Illinois University Press, 1982. Copyright © 1982 by the Board of Trustees, Southern Illinois University. All rights reserved. Reproduced by permission.— Millington, Mard. From “Aspects of Narrative Structure in‘The Incredible and Sad Story of the Innocent Erendira and her Heartless Grandmother’” in Gabriel Garcia Marquez: New Readings. Edited by Bernard McGuirk and Richard Cardwell. Cambridge University Press, 1987. © The Nobel Foundation, 1987. Reproduced with permission of the publisher and the author.—Naumann, Marina Turkevich. From Blue Evenings in Berlin: Nabokov’s Short Stories of the 1920s. New York University Press, 1978. Copyright © 1978 by New York University. Reproduced by permission of the author.—Saltzman, Arthur M. From Understanding Raymond Carver. University of South Carolina Press, 1988. Copyright © University of South Carolina 1988. Reproduced by permission.—Seidman, Barbara Kitt. From Magill’s Survey of American Literature. Salem Press, Inc., 1991. Copyright © 1991, by Salem Press, Inc. All rights reserved. Reproduced by permission.—Traub, Valerie. From ‘‘Rainbows of Darkness: Deconstructing Shakespeare in the Work of Gloria Naylor and Zora Neale Hurston’’ in Cross-Cultural Performances: Differences in Women’s Re-Visions of Shakespeare. Edited by Marianne Novy. University of Illinois Press, 1993. © 1993 by the Board of Trustees of the University of Illinois. Reproduced by permission.—Wagenknecht, Edward. From The Tales of Henry James. Frederick Ungar Publishing Co., 1984. Copyright © 1984 by Edward Wagenknecht. Reproduced by permission of the publisher.
PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN SSFS, VOLUME 6, WERE RECEIVED FROM THE FOLLOWING SOURCES:
19th-Century Print of Roses, a book illustration for From Gold to Grey (1886), photograph. CORBIS. Reproduced by permission.—A Heneritta Macaw, Florida’s Sunken Gardens Aviary, photograph. Archive Photos, Inc./Sunken Gardens. Reproduced by permission.—A photograph of River Lilly from the roof of the Four Courts, Dublin City, Ushers Island is hidden by the statue, photograph. Bord Failte Eireann (The Irish Tourist Board). Reproduced by permission.—A view of Notre Dame Cathedral, Paris, France, 1998, photograph by Daniel L. Gore. © Daniel L. Gore. Reproduced by permission.—A view of the New Market from the corner of Shippen & Second Streets, 1787, Philadelphia, PA, photograph. Archive Photos, Inc. Reproduced by permission.— Amusement Park in Ocean City, Maryland, 1991, photograph by Douglas Peebles. CORBIS/ Douglas Peebles. Reproduced by permission.—‘Autumn Days’ Chrysanthemums, photograph by Patrick Johns. CORBIS/Patrick Johns. Reproduced by permission.—Barth, John, photograph. AP/Wide World Photos. Reproduced by permission.—Butler, Octavia E., photograph by O.M. Butler. Reproduced by permission.—Carver, Raymond, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission.—Crops growing in Salinas Valley, California, photograph by Craig Lovell. CORBIS/ Craig Lovell. Reproduced by permission.—Dinesen, Isak, 1957, photograph. Archive Photos, Inc. Reproduced by permission.—Face of a Black Panther, photograph by Tom Brakefield. CORBIS/ Tom Brakefield. Reproduced by permission.— Faulkner, William, photograph by Neil Boenzi/ New York Times. Archive Photos, Inc. Reproduced by permission.—Flaubert, Gustave, photograph. Library of Congress.—Hemingway, Ernest, photograph. Archive Photos, Inc. Reproduced by permission.— Hurston, Zora Neale, photograph. AP/Wide World Photos. Reproduced by permission.—James, Henry, photograph. The Library of Congress.— John Steinbeck’s House, Salinas, California, photograph by Philip James Corwin. CORBIS/Philip James Corwin. Reproduced by permission.—Joyce, James (Ulysses), photograph. The Library of Congress.— Lawrence, D. H., photograph. AP/Wide World Photos. Reproduced by permission.—Marine Drive from Malibu Hill, Bombay, India, photograph. Archive Photos, Inc. Reproduced by permission.— Marquez, Gabriel Garcia, 1982, photograph. AP/Wide World Photos. Reproduced by permission.— Miner in Wales, photograph. Archive Photos, Inc. Reproduced by permission.—Nabokov, Vladimir, photograph. AP/Wide World Photos. Reproduced by permission.—New Gate in Berlin, photograph. UPI/Corbis-Bettmann. Reproduced by permission.—New York City Skyline, ca. 1925, photograph by E. O. Hoppe. CORBIS/E. O. Hoppe. Reproduced by permission.—Old Danish Farm, Faaborg, Fyn Island, Denmark, 1994, photograph by Philip Gould. CORBIS/Philip Gould. Reproduced by permission.—Oulpen Manor, built from the 1600s to 1800s, Gloustershire, England, photograph by Phillippa Lewis. CORBIS/Phillippa Lewis. Reproduced by permission.—Sculpture entitled “The Rape of Proserpina,” by Italian Baroque sculptor Gian Lorenzo Bernini, Ca. 17th century, photograph. Corbis/Bettmann. Reproduced by permission.— Steinbeck, John, photograph. Archive Photos, Inc. Reproduced by permission.—The La Casa Verda visitor’s center of the Ebro delta National Park, Spain, 5/31/95, photograph by Francesc Muntada. CORBIS/Francesc Muntada. Reproduced by permission.—Wharton, Edith, photograph. AP/ Wide World Photos. Reproduced by permission.— Wideman, John Edgar, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission.
