The secular angel in contemporary children's literature: David ...

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BIBLIOGRAPHY Primary Texts Almond, D. (2007) Skellig. London: Hodder Children’s Books. Almond, D. (2010) My Name Is Mina. London: Hodder Children’s Books. McNish, C. (2007) Angel. London: Orion Publishing. Pullman, P. (1995) The Golden Compass. New York: Alfred A. Knopf. Pullman, P. (1996) Clockwork. New York: Scholastic. Pullman, P. (1997) The Subtle Knife. New York: Alfred A. Knopf. Pullman, P. (2000) Count Karlstein. New York: Alfred A. Knopf. Pullman, P. (2000) The Amber Spyglass. London: Scholastic Ltd. Secondary Texts Abrams, D. (1994) “The Boundaries of Divine Ontology: The Inclusion and Exclusion of Metatron in the Godhead.” The Harvard Theological Review 87(3): 291-321. Adams, M. V. (2004) The Fantasy Principle: Psychoanalysis of the Imagination. New York: Brunner-Routledge. Aers, D., Cook, D., Punter, D. (1981) Romanticism and Ideology: Studies in English Writing, 1765-1830. London: Routledge & Kegan Paul Books. Allen, G. (2000) Intertextuality. London: Routledge. Almond, D. (2011) “The Necessary Wilderness” The Lion and the Unicorn 35: 107-111. Almond, D. “Children and Language: Taalk Propa? Hadaway wi ye.” The Guardian, 8 February, 2013. http://www.guardian.co.uk/commentisfree/2013/feb/08/taalk-proper, Accessed 9 February, 2013. Ankerberg, J., Weldon, J. (1995) The Facts on Angels. Eugene: Harvest House Publishers. 228
Anonymous, “A Dark Agenda?” Surefish, November 2002. http://www.surefish.co.uk/culture/features/pullman_interview.htm, Accessed 3 June, 2012. Arbel, D. (2005) “‘Seal of Resemblance, Full of Wisdom, and Perfect Beauty’: The Enoch/Metatron Narrative of 3 Enoch and Ezekiel 28.” The Harvard Theological Review 98(2): 121-142. Armitt, L. (1996) Theorising the Fantastic. London: Arnold. Arva, E. L. (2008) “Writing the Vanishing Real: Hyperreality and Magical Realism.” Journal of Narrative Theory 38(1): 60-85. Asprem, E. (2008) “False, Lying Spirits and Angels of Light: Ambiguous Mediation in Dr Rudd’s Seventeenth-Century Treatise on Angel Magic.” Magic, Ritual, and Witchcraft 3(1): 53-80. Atler, R. (2001) The Art of Biblical Narrative. New York: Basic Books. Aurini, J., Davies, S. (2005) “Choice without Markets: Homeschooling in the Context of Private Education.” British Journal of Sociology of Education 26(4): 461-474. Avery, G. & J. Briggs (1989) Children and their Books. Oxford: Oxford University Press. Ayres, J. (2011) “Fiction for the Non-Believer: A Review of Arthur Bradley and Andrew Tate’s The New Atheist Novel.” Journal of Modern Literature 35(1): 201-208. Bachelder, L., Kelly, P., Kenney, D., Small, R. (1980) “Young Adult Literature: Looking Backward: Trying to Find the Classic Young Adult Novel.” The English Journal. 69(6): 86-89. Bagwell, C.L., Schmidt, M.E. (2011) “The Friendship Quality of Overtly and Relationally Victimized Children.” Merrill-Palmer Quarterly 57(2): 158-185. Baker, D. (1959) “The ‘Angel’ of English Renaissance Literature.” Studies in the Renaissance 6: 85-93. 229
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THE SECULAR ANGEL IN CONTEMPORARY C
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ABSTRACT This thesis explores the r
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ACKNOWLEDGMENTS I believe this thes
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Faith vs. Science & Innocence vs. E
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INTRODUCTION This thesis explores t
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to one’s morality based on the et
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part-angel, part-human, and through
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subject of angels, is indicative of
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the Book of Enoch (or 1 Enoch) and
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God with the scientific notion of D
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(Keck, 1998, 69). McNish’s angels
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your small existences?’ ‘But yo
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1980, 7). In order to grasp Blake a
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and, in the final analysis, its som
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was the strongest and kindest of al
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This reference to Blake points to o
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deconstruction-, its function “is
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childhood. Almond has mainly used d
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argument, and the heroes of the sto
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act of killing God, to the slow sec
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mentioned, the intertextual element
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meaning of words” (Allen, 2000, 3
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Transformation Transformation is a
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narrative the process is set into m
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secondly, it bears testament to Fre
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the crude awakening of the fact tha
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CHAPTER ONE DAVID ALMOND’S SKELLI
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appalling at first. His first meeti
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him, and serves as a mirror through
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are some of the parallels that can
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Blake & Intertextuality William Bla
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With these verses she is signalling
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Blakean passages that Almond has in
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a process which ultimately leads hi
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Michael’s mother, who faces a cer
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are not only symbolic and allegoric
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the first time, whereas Skellig has
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Mina read the sentences out loud. S
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see and closely observe the two met
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Mina is the one who teaches Michael
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however, does not constitute the ep
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that such a change in our nature an
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trepidation, there is no surprise w
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doctors whose responsibility it is
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have ultimately learned and exercis
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This very process of change, of bot
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may be offered along the way, this
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of by doctors, Michael tries to hel
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this entire process for Michael and
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in Almond and McNish’s work, as b
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witnesses the wings on his own back
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character and an idea. The artist
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Pullman wished for this story to re
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concepts. As a result, the Fall’s
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case of these three authors it is i
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Malone, who often voices opinions s
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Roger, true fear and loneliness ove
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egins by gathering all the elements
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intertextual umbrella under which t
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driven by malevolence and revenge.
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have to be considered as they are d
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drawn between the two girls, Lyra a
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the end of the GC where Lord Asriel
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considered preferable or superior i
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act is what brought sin into the wo
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punishment for disobedience is not
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work of the General Oblation Board
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Especially in the case of Asriel, h
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Lyra finds Dr. Mary Malone, a scien
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opposite to the religious one; whil
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subject to the laws of optics. They
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homosexuality to child readers as p
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could be, according to Schweizer, a
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as adults. Although she knows what
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conception of the angel Uriel” as
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however, could be intentional on th
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‘I propose to send a man to find
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substitution of this erroneous fait
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come after death. In this way, Pull
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towards adulthood is not always rel
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Pullman parallels childhood and inn
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double significance. In Lyra’s ca
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Instead, he seems to willingly and
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and its innocence, as well as the s
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eligious views myself, and therefor
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The issue of intertextuality is not
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style: shining, fully-robed, [their
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fails to pass the first time. Freya
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McNish appears to harbour the idea
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species closer together to the poin
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this point, it is important to atte
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guardian angels was as conscious as
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Page 203 and 204: All this changes when Freya first m
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Page 207 and 208: The debate between state-school edu
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Page 213 and 214: Stephanie feel accepted and more se
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Page 221 and 222: elationship with Stephanie and its
Page 223 and 224: This he exemplifies both in Mestraa
Page 225 and 226: thesis, however, it was argued and
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Page 231 and 232: strength of the book, and I made ea
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Page 239 and 240: Bleich, D. (1978) Subjective Critic
Page 241 and 242: Chambers, A. (1985) Booktalk: Occas
Page 243 and 244: Damon, S.F., Eaves, M. (1988) A Bla
Page 245 and 246: Fairer, D. (2002) “Experience Rea
Page 247 and 248: Gibbs, N. (1993) “Angels Among Us
Page 249 and 250: Hunt, P. (1994) An Introduction to
Page 251 and 252: Kochenderfer-Ladd, B., Troop-Gordon
Page 253 and 254: Manlove, C. (1999) The Fantasy Lite
Page 255 and 256: Mishna, F., Scarcello, I., Pepler,
Page 257 and 258: Pfeiffer, J. (1999) “‘Dream not
Page 259 and 260: Rosenblatt, L. M. (1982) “The Lit
Page 261 and 262: Squires, C. (2004) Philip Pullman
Page 263 and 264: Warner, N.O. (1982) “The Iconic M
Page 265: Yampbell, C. (2005) “Judging a Bo
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